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OK to mix 1080-60i with 1080-2997p in same time line?
I’ll be refining the edit of a live switched master that is in 1080-60i to the native 1080-29.97PN for the 12 Panasonic 2/3″ cams. All 12 cams and mastering deck are jam synced TC. Editing is a breeze. Just minor timing tweaks on the live cuts. Do I need to perform any de-interlacing on the 1080-60i switched master file or can leave as is? All codecs are in AVC-I 100.
The producers like that progressive 30PN look on the 2/3″ Panasonic cams. They couldn’t find a switcher that can do 30p natively and had to settle with 60i. For future reference, is there a native 30P switcher out here or that’s only available for in-cam recording?
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7 Replies
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Hmm- it would definitely be more of an aesthetic concern than a technical one. FCPX will make it all fit and play properly but it would be up to your client if they’re ok with the interlaced look which is quite different than 30p or they want you to de-interlace. Also doable within FCPX though it would be a little more rendering time/quality hit.
I’d suggest cutting a few minutes and showing them a test with/without to see what they prefer before you go too far down one path.
There are definitely switchers out there that can do 30p I believe Newtek’s for example and I’m sure some of the more high end one’s support it as well.
Noah
FCPWORKS – FCPX Workflow
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If this is for broadcast, then make sure you are cutting in a 1080i timeline and that you monitor through a broadcast IO to a real monitor.
Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
The complexity of transmitting 1080p signal over HD-SDI cable to the switcher is pretty complicated. You’d need a deck that can record 1080p plus correct setting on the output camera. Finding the right switcher is another hurdle. Still researching this but so far the easiest one to pull off is 1080i. I tried to intercut 1080i timeline to 1080p and it’s very hard to tell apart. Only when the camera pans it’ll give away the 29.97PN look. But overall not bad when intercutting them.
Now doing this the other way, 1080p timeline and 1080i footage will need de-interlacing (prior to FCP X) and lots of rendering. 1080p seems to fit in just fine.
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This is why PsF was born.
Progressive segmented frame is a progressive cadence sent over an interlaced stream. This allows progressive workflows in interlaced environments. Your switcher can be set to 60i, and your cameras should be set to 30p. Most HDSDI is sent out PsF unless you specifically switch to p which is hard to do in some cameras.
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In this case I don’t think PsF is even needed. Just change the field setting of the footage as Progressive in FCP X’s info tab. Then edit it in a 29.97P timeline.
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Brett Sherman
One Man Band (If it\’s video related I\’ll do it!)
I work for an institution that probably does not want to be associated with my babblings here. -
Psf will be needed for video transmission only as the switcher does not understand 1080p. The video output will need to be set for psf (or i) and fcpx should be set for fcpx timeline and rendering, correct.
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If you want to deinterlace just choose deinterlace in the inspector. Works pretty well.
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