Progressive vs interlaced

[Ed Dooley]

FCP supports HDV 30P too. That’s what we shoot in with our JVC 110.
Ed

[Andres Garcia] “Final Cut supports only HDV 1080 24P and 25P which would be the best?”

[Andres Garcia]

[Ed Dooley] “FCP supports HDV 30P too. That’s what we shoot in with our JVC 110.”

It supports HDV 720 30P, but the Sony records only 1080 24P

[Andres Garcia]

[Dave LaRonde] “If you are in a PAL country, shoot 25p.”

But why would you record progressive… why is it better?

[Mark Maness]

The only reason to shoot progressive if to achieve a film like look. It takes the harshness away from interlaced video.

I prefer the progressive look, but others may not. For corporate video, most prefer the interlaced look. The progressive look will soften areas of people’s faces that could probably use the softening.

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Wayne Carey
Schazam Productions
http://www.schazamproductions.com
https://blogs.creativecow.net/waynecarey

[David Roth weiss]

[Andres Garcia] “But why would you record progressive… why is it better?”

Most people, myself included, think progresive video looks more film-like, and it has the added advantge of, at least in theory, of displaying at twice the resolution of interlaced video. With interlaced video only half of the scan lines are displaying at any given moment, whereas with progressive video an entire frame is being displayed at all times.

David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los Angeles

POST-PRODUCTION WITHOUT THE USUAL INSANITY

[Ed Dooley]

Yeah, I was responding specifically to what you said about Final Cut Pro:
[Andres Garcia] “Final Cut supports only HDV 1080 24P and 25P which would be the best?”
Ed

[Walter Biscardi]

[Andres Garcia] “But why would you record progressive… why is it better?”

Slow motion. With no interlacing lines, slow motion is flat out gorgeous with progressive material.

As for the “film look” that’s only if you shoot 24 or 30p. If you shoot 60p, they you get extremely high quality “live” video look. Then you can take that and slow it down to 24 and get amazing slow mo.

This is my favorite format, 720p/60.

Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Broadcast and independent productions.

All Things Apple Podcast! https://cowcast.creativecow.net/all_things_apple/index.html

Read my blog! https://blogs.creativecow.net/WalterBiscardi

[Tom Wolsky]

Because interlacing sucks. It’s a pain in the neck for no great benefit. It’s the legacy of 50 year old technology where field splitting saved half the broadcast bandwidth. With digital video it’s pointless. Useful if you’re try to sciap 1080 into 3.5MB/sec, but otherwise not so good. For me the sooner we get out of interlacing and rectangular or other mushed pixels to create compression the better. Give me full raster 1280x720p square pixels no fields any day. Doing sports? Go up to 720p60.

All the best,

Tom

Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 2 Editing Workshop” Class on Demand “Complete Training for FCP5” and “Final Cut Express Made Easy” DVDs

[Gary Adcock]

[Wayne Carey] “The only reason to shoot progressive if to achieve a film like look. It takes the harshness away from interlaced video.”

Nah-thats the short view

shoot progressive
to make better stills
so that your compressed video looks / plays better on a computer
so the graphics or animation look better
so it looks better on plasma or LCD displays
so you can repurpose to all of the above ( including interlace if needed)
it looks better on my iphone

24p DVD’s contain more data or less compression and still play properly on NTSC sets.
24p streams have 20% less frames so 20 % less download time

I personally only deliver interlace – I shoot progressive only.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

[Mark Maness]

As Lucy says to Charlie Brown once…. “THAT’S IT!”

I can vouch for Gary on this… The quality is sooo much better. You have twice the actual resolution with most cameras and you can achieve some excellent slo-mo capabilities.

As Gary does, we shoot completely in progressive (in our case, it’s 30p) and deliver in interlaced 1080i29.97. Looks so awesome!

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Wayne Carey
Schazam Productions
http://www.schazamproductions.com
https://blogs.creativecow.net/waynecarey