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Legacy clients and projects, prog vs interlaced, MP vs NMP etc
I have some clients I’ve been working with for years and every time I shoot something, it becomes part of a great growing library for them. However, while the output viewing format used to be DVD, now, finally, it’s almost all online delivery.
Given all the footage so far has been shot as interlaced (1080 50i) and I’ll keep using this overlay as the majority footage in the near future, any ideas on when and how should I switch to shooting progressive (which I do shoot for quick turnaround clients)?
With my current main client (a human rights training organisation), I have five 50 minute documentaries in post-production using footage from the last 10 years. Almost all the material is in 50i. Yesterday I shot some new interview material for them and almost shot in in 25p but realised the interviewees will only ever be onscreen for 10 seconds and then it’s all overlay from our archive.
If I start shooting progressive, the question is about handling and outputting any mixed interlaced and progressive footage in FCP7. Currently, I de-interlace the master for online but given making a DVD is now practically an afterthought and soon will be completely redundant, the shooting should switch to progressive.
The logging and editing for these clients started years ago on FCP and is still on FCP7 because there are often updates to programs.
But sometime there’ll have to be a hard and software update. One solution suggested to me was to trade up from my current six core 2010 MP for a trash can MP running Premiere (which I use now as well) and maybe FCPX (which I basically hate) connected to an Imac which acts as a monitor but also has a separate legacy system (with my current OS Mountain Lion and FCP7 etc apps) I can hop into at any time.
Good to have long term clients, but it’s hard when a small town develops into a metropolis with suburbs (there are four terabytes of footage to draw on).
Anyone in this situation?
Mickey
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3 Replies
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Hi Dave
Thanks for your response. Do I like the look of 25p? Honestly, never been partial to it, another reason for not adopting it though I use it for straight-to-web work.
But, it’s the future, or at least progressive is. So how to integrate any new 25p footage shot (with my Sony F3) in FCP7?
Let’s say I finish the current crop of documentaries in 50i. I’m due to start shooting interviews for a new program soon and I know I’ll be needing a lot of new overlay so that’s probably the opportunity for shifting to 25p.
Do you have any preferred de-interlacing filters or strategies for mixing interlaced and prog footage?
Mickey
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Well, almost all the footage I’ve shot over the last nine years has been 1920×1080 (or 1440×1080 50i) so there’s no question of uprezzing.
All of the finished projects are now going online as well as on DVD, which as I mentioned is now a back up for places without reliable internet.
My main concern is mixing any new footage shot at 25p with the older 50i footage. So the question would be, if I work in a progressive sequence, what happens to or how should 50i footage be treated?
Mickey
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Hi Dave
I’ll have to experiment with this. Given the bulk of interlaced material, de-interlacing through compressor is not an option. Looks like I’ll stay with interlaced and then de-interlace on mastering.
Thanks
Mickey
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