Interlaced video

[Jeremy Garchow]

It definitely worked and that’s an interlaced movie (60i) and not 30p.

Thanks a lot for posting that as it makes this process so much easier.

Jeremy

[Jon Gagnon]

This is getting more and more confusing for me.

Again, any help would be…

[Jeremy Garchow]

[Jon Gagnon] “This is getting more and more confusing for me.

Again, any help would be…”

What do you mean? Edit in a normal dv timeline lower field first. Choose the dv ntsc easy setup, make a new sequence and away you go.

Jeremy

[Jon Gagnon]

I’ve done that.

So is there no way to lose the interlaced lines? They are very noticeable. I’ve done many standard dv 60i videos and they’ve never seemed this noticeable. But I could be so used to 30P, since I’ve been working exclusively with that for 4 months.

It was a 2 camera shoot also and the other one is 30P so my best scenario is to put it on a 60i timeline and deinterlace the 60i footage? The 30P footage looks great on a 60i sequence but very pixelated on a 30P sequence. why?

[Jeremy Garchow]

[Jon Gagnon] “So is there no way to lose the interlaced lines? They are very noticeable.”

The video is shot interlaced, that’s the way it is. You can lose them by de interlacing your footage, but that takes a long time. I recommend waiting until the very end of the edit for that.

I would edit on a 30p sequence and then when you have the time or are done with the edit, deinterlace the 60i material on the 30p sequence.

By the way, next time, please tell us your entire workflow. it would have been nice to know this was a 2 camera shoot that was supposed to be 30p and you are trying to match cameras. All of that info is very helpful.

Jeremy

[Jeremy Garchow]

[Dave LaRonde] “So if you treat your DVX 100B video as simple interlaced video, and edit it as such, life will be good. It will be progressive scan as much as NTSC standard-definition video can get. “

That’s not exactly true, Dave. If you edit progressive material in an interlaced timeline, all of your effects will get rendered interlaced. You need to edit progressive material in a non interlaced timeline in order to match the motion of your footage. ALso, if you start mixing and matching prog. and int. material, one of them is going to look funny as it doesn’t match the timeline playback settings (this is new to FCP6 I have found). You will then have to match the footage to each other by either deinterlacing your interlaced material if editing in a progressive timeline, or reinterlacing your progressive footage if editing in an interlaced timeline.

Jeremy

[Sean Oneil]

Jon, are you delivering an NTSC master or are you creating this for the web?

Sean

[Jon Gagnon]

The final output is for web.

This is where I get confused. What looks best now is an interlaced sequence but even then the interlaced lines of CAM A footage are very noticable so I’m using a smart de-interlace filter for those camera’s shots which, so far, isn’t looking as bad as i thought it would.

When I put everything on a 30P timeline both cameras look pixelated, although it does obviously get rid of the interlaced line of CAM A.

On top of that I was doing my graphics/moving text in FInal Cut but on a 60i sequence you see the interlaced lines so now I’m doing them all in After Effects.

So as of right now to me doing it all in a 60i timeline is best but I’m willing to try anything.

Thanks again.

[Jeremy Garchow]

Joe. you do have an external monitor, correct? If you don’t, have you put youtr cavas to 100% and looked at your timleine then?

Even if you don’t, you are going about this the wrong way in my opinion.

Why edit interlaced if it needs to be deinterlaced for the web?

You should edit in a progressive timeline, change your 30p clips to a ‘None’ field domininace, and deinterlace your 60i clips.

That will yield the higest quality progressive web movie.

Jeremy

[Jon Gagnon]

Yes and yes to your first question.

In theory I would agree with you but I’ve done exports that would show otherwise.

One export
60i sequence – looks great except of course the shots from one of the cameras that have the interlaced lines which I will then de-interlace.

Two export
30p sequence – everything looks pixelated except for text I’ve made in FCP

Three export
30P sequence with all clips changed from interlaced to none in the clip settings
this did not make a noticeable difference from the 30p sequence.

So my thinking is if the 30p sequence makes everything slightly more pixelated why not put it on a 60i timeline and at least half the camera shots and all the graphics will look their best then when i de-interlace the other cameras shots they’ll look slightly softer and/or more pixelated but not nearly as bad as the footage looks on a 30p sequence.

It doesn’t make sense to me theoretically but I’m looking at exports that look much better from a 60i timeline.