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Problem; Uncompressed 1080i HD Motion Graphics
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I believe I solved the problem; Our editor had our sequence settings on field order: “Upper”. I changed it to “None” and got rid of our interlacing problems.
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1080i is upper field first. But if the editor rendered the graphics upper field first, then the interlacing will still occur.
Jeremy
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Just curious… why is the production flow going through the hassle (and cost) of D5 tape in the first place? Why not just encode the video to a 1080 HD video format of choice and play it off a notebook computer connected to the projector via DVI?
Then everything could also stay in progressive mode, even 30p if you wish. Maybe it’s just me, but I’ve always hated tape, especially when it was on reels!
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch
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Our client makes projectors, and for this tradeshow, they want the video we created playing through their projector. Their engineers decided on the workflow; still not sure how its going to pan out. As for tests in our studio, we mastered our uncompressed footage to D5, and ran SDI through a teranex server (can’t remember exactly) then ran HDMI to the projector.
Our client watches over the quality like a hawk, as he wants it as pristine as can be, since our video is supposed to be showing how great the projector actually looks.
We usually just master uncompressed to D5 and it gets encoded elsewhere, on most of the HD projects we’ve done.
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I guess that’s why I’m confused for the decision to go to D5 tape even though D5 is great quality. Playing back 1920×1080 HD off a computer isn’t bottlenecking like it used to be. You could literally play back a lossless RGB 4:4:4 video file at 1080p30 (non-linearly none the less).
If you’re going single-link HD-SDI, you’re going 4:2:2 that will employ some form of chroma filtering, not to mention chroma compression. A shame since your footage is motion graphics that were processed in full 4:4:4. If your client wants the best quality, they should stick with 4:4:4 lossless. I wonder why the engineers didn’t think about this. ???
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch
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That’s great advice. This is our 2nd HD project, so we are still learning the ropes. With your workflow, what codec would you use to compress out of FCP, to acheive the 4:4:4 lossless? The new apple Pro-res codec, or is there something else? Also, you would play the file off a laptop then connect RGB or HDMI to the projector? Thanks for the advice!
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You’d probably do well using the Sheer Video codec by Bit Jazz. It can work in several different modes, but in this case, choosng RGB 4:4:4 lossless for both the FCP timeline setting and the final video export would be ideal. The difference between Sheer and something like the standard Animation codec is that Sheer takes up about half the file size space and in the case of 1080 HD, that means less bandwidth demands between hard drive and computer (although a little more CPU power will be required to decode the compressed file size on playback using Sheer, but that’s not a big deal). Otherwise, you could use two codecs you already have right now to perform some lossless RGB 4:4:4 tests: Animation and PNG.
In terms of hooking the computer to the projector, that should be done via DVI if the projector has that input (I’m sure it does). This way you get a straight RGB connection without any digital conversions in the mix.
You could have a complete RGB 4:4:4 lossless path from creation to final display. It doesn’t get better than that!
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch
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Unfortunately, you can’t play that from a laptop, since you’ll need a massive RAID for the data-rates involved.
Either get a desktop or play ProRes out of a laptop, it’s still going to look better than D5.
Regards,
Uli
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[Salerno] “I believe it converts 1080i to 1080p on the fly; Our editor created all graphics interlaced as well. I wonder if it’s the 1080i to 1080p that is causing the stuttering / blur issues. “
good guess
the 60p that this projector is creating using a line doubled conversion, where every interlaced field is computed into a progressive frame for output.
This line doubling in the displays / projection often show signs of interlacing since only one field is represented in each frame being shown.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows -
A G5 would be ideal, but using BitJazz + 2 or 4-disk SATA + ExpressCard should be able to handle it on a MacBook Pro. A 2-disk SATA isn’t that big. Even a 4-disk SATA with a MacBook Pro is much easier to lug around than a D5 deck without worrying you’ll have to sell your house should you lose or break the deck!
Marco Solorio | CreativeCow Host | OneRiver Media | Codec Resource Site | Cinesoft | Media Batch
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