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Progressive footage and interlaced footage
I have two questions:
1) I have an event coming up soon where I will have to use a DVX100B and a Sony 2100.(not impressive in progressive mode). So the Sony will remain in its native 60i mode. I will use Premier CS3 for editing but I am not sure that mixing the ouputs of the two cameras (differnt time lines) will be without some issues when switching cameras. What are the likely issues that I may encounter at edit assuming both cameras are synced in edit.
2) According to the DVX 100B manual, when shooting in 30P mode or in 24P mode, the camera actually outputs 60i. So is the output actually progressive or interlaced. The manual seems to be pretty clear it’s interlaced but if that is so, how could there be much of a difference in the appearence between progressive and interlaced.
2A) If I were to render the project in progressive mode, I read recently that if the footage is interlaced, one of the fields will be eliminated providing half of the resolution. I have tried this previously and that statement does not seem to produce the implied results. But what exactly is happening to the interlaced fields when the edited content is renderd in progressive mode? One of them can’t be tossed in rendering, it would be far too noticable which I have not detected.
Would very much appreciate input from the group.
Thanks!!
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4 Replies
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The only way to make that work is in a 60i timeline. 24p standard not 24pA would be the format to use. You can then put both cameras into the same DV-NTSC 29.97 timeline. The Sony will have its standard 60i look and is what it is. The DVX100 will give you the 24p/film look but be in 24p plus 3:2 pulldown = 60i mode. It will play nice in a 60i timeline but give you the look. That is to say the cameras won’t match *at all* but you can edit them together and output a 60i DVD. Progressive DVD is not possible from these two cameras.
My suggestion would instead be rent a second DVX100, shoot 24pA and deliver a true 24p DVD. It will look a *lot better* and the camera can match perfectly. And DVX100 rentals are easy to get for $100-200 in most cities now.
Noah
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Thank you Noah. That helps quite a lot. I am still wondering about the other two points raised in my question: 1) why is the output of the DVX converted to 60i and 2) what is actually happening in rendering whit footage shot with the Sony VX. Are both fields used or not? It seems to me they have to be but that’s why I brought that question to the group.
Thanks again.
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Don’t mean to hijack but, what if I ran dvx at 30p and took b-roll from a cheap 60i cam ??
I did this and started a PP2 Pro project as 30p (can’t remember if I dropped frames)..
What say you in this scenario?
thnx
JOE
X-PorterGen 1:1
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dvx 100 in all modes is captured 29.97 interlaced ntsc.
24pa(advanced) is 23.976 with 2:3:2:3 pulldown repeating fields you can remove prior to editing in interpret footage command.
both 24p and 24pa can be pulled down, 24p is 2:3:3:2 but a more traditional film effect look.
for 60i, if you are trying to match the 24fps, you will need to deinterlace(fieldskit) then slow the now 30p to 24p with a timewarp plugin like twixtor.
if you are trying to make the 24p look like 60i, you can actually go backwards with a reinterlacer or twixtor 24p to 59.94p which is same speed as 29.97 interlaced fps.
if you render in progressive mode, and don’t use a special deinterlacer to merge the two fields into a whole frame, AE’s built in deinterlacer will dissapoint if you want perfect quality.
besides framerate issues, the colors and contrast will differ too.
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