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Re-interlacing footage at the broadcasters request: normal or not?
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[walter biscardi] “It is called a network standard and you must follow all of their standards in order to pass Quality Control.”
And to add to that, you MUST know the delivery specs BEFORE you begin shooting, so you know what you can and cannot deliver. So you know what cameras and formats you can and cannot use. If you were required to deliver an interlaced master, then shooting progressive was a poor choice.
Shane
Littlefrog PostGETTING ORGANIZED WITH FINAL CUT PRO DVD now for sale!
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[walter biscardi] “Not when it’s clearly labeled in the specs. I deliver to four networks, one in Europe, and none of them accept progressive masters. All must be 1080i/29.97. If they are not, they fail.”
I should amend that, the European network requires 1080i/25. But it’s still interlaced.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR
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[Shane Ross] ”
And to add to that, you MUST know the delivery specs BEFORE you begin shooting, so you know what you can and cannot deliver. So you know what cameras and formats you can and cannot use.”That’s a very good point and all of this is so clearly described in every Producer Handbook or Technical Standards Manual that I have from each network.
[Shane Ross] “If you were required to deliver an interlaced master, then shooting progressive was a poor choice.”
Not necessarily, and especially if you own a high quality card like the AJA Kona 3. Lots of DP’s really like shooting progressive so they shoot in 720p. In fact the majority of the material I receive is 720p. We’ll either capture / edit in 720p and then convert at the end to 1080i or even convert to 1080i during ingest.
But definitely you need to fully understand what will be accepted as a delivery item before you start shooting.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR
The new Color Training DVD now available from the Creative Cow! -
My 2cents – everything I have delivered to PAL broadcasters in Australia and Europe has been 1080 50i. This includes a HDcam shoot that was 25psf.
To my knowledge there is not an issue with progressive material that is wrapped in a 1080 50i tape delivery, regardless of originating format. To that end I always online in 1080 50i sequences. I haven’t had any 720p jobs delivered yet. It seems most producers here shoot 1080 50i or 1080 25psf.
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Even in such a scenario Walter, the picture image your delivering is still progressive, albeit embedded in an interlaced carrier, but there will be no temporal difference between fields, or there will be 3:2 pulldown if you shot 24p. But in either case, the resulting image retains it’s progressive visual appeal.
What it sounded like here is that the broadcaster didn’t like the look of progressive acquisition and wanted it to look like it had been shot interlaced. That’s a highly unusual request as the technology to do so is rarely effective and incredibly time consuming, and fraught with visual issues. I’ve seen it used relatively successfully for restoration of old programming purposes, but never as a final mastering decision on a new programme.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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[Graeme Nattress] “Even in such a scenario Walter, the picture image your delivering is still progressive, albeit embedded in an interlaced carrier, but there will be no temporal difference between fields, or there will be 3:2 pulldown if you shot 24p. But in either case, the resulting image retains it’s progressive visual appeal.”
I’m not saying it doesn’t retain the “progressive look.” I’m just saying the specs are 1080i/29.97 or 25. Yes, you’re just adding field to a progressive image, but this is what the broadcasters want.
I’d be happy to deliver progressive masters, but I can’t.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR
The new Color Training DVD now available from the Creative Cow! -
I bet you would! It would be so much easier! And the end viewer at home would potentially receive a better picture too! I really, really want to see interlace die soon…..
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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But 720p is a different beast: if you shoot in 50 or 60 p, you can convert it to quite clean 1080i with good hardware, since the temporal information is there …
Regards,
Uli
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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Amen, brother !
Uli
Director of the Institute of Media Research (IMF) at Braunschweig University of Arts
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[Graeme Nattress] “I really, really want to see interlace die soon….. “
I will sign the petition if you draw it up.
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