Sequence settings for Apple ProRes documentation – interlaced, gamma correction, chroma filtering?

[Rafael Amador]

Elihaj,

No much info about.

I always leave the gamma in Auto. I haven’t had any problem with Prores gamma lately.

The “Interlaced” button, won’t changes the nature of your footage field order.
Proress apply two different compression patterns for Progressive and Interlaced stuff.
Here you can set the proper one for your footage. Checking this should also flag the file as interlaced.

About the * Enable chroma filtering for 4:4:4 sources” (we have already talk about), for my self still making no sense.
I understand “Chroma filtering for 410/420/422 sources”, but no for “444 sources”.
If talking about Uncompressed stuff, “Chroma filtering for 444 sources” is a NO-NO process (you would lose all the original Chroma sample on your picture).
I don’t think that would get any better with Prores, where after the downsampling there is a DCT compression.
rafael

http://www.nagavideo.com

[Elijah Lynn]

Thanks Rafael and good to hear from you again!

So would that explain why that interlace setting doesn’t visibly affect the output?

Here is my scenario, EX3 footage shot in HDV 1080i60, however, it is 23.98 so pulldown was added, when I use a ProRes HQ setting in compressor and do a reverse telecine and set to custom framerate of 23.976 the pulldown gets removed beautifully and I have a non-interlaced file again! But that setting for “interlace” doesn’t affect this output at all and I really don’t know what to select since I have no visible feedback on what works and what doesn’t. I suppose I can leave it to whatever it is set to, but I just like to know what it does so I don’t hit a roadblock later on.

Do you or anyone else know what this should be set to provided the footage I explained above?

HDV is upper field first but what I want in the end is progressive. Is the setting referring to the footage it is working with, and if so the container/wrapper or the essence which is 23.976p or is it referring to what the file is going to be in the end?

One thing I don know is that when this setting is used within FCP and toggled back and forth, it does not mess with render files, which means to me that it shouldn’t affect visible output. Any other setting change in sequence settings forces re-render of the entire timeline.

[Rafael Amador]

[Elijah Lynn] “So would that explain why that interlace setting doesn’t visibly affect the output?” I understand that this helps to optimize the compression. Compression Macroblocks are not build the same on interlaced and progressive stuff.
If you build 4×4 pixels blocks:
– If Interlaced, the pixels will comes from alternate lines.
– With Progressive stuff, the pixels will come from adjacent lines.

This changes the Macroblocks composition, but not the pixels inside. The picture is the same.

Elijah, you know that I’m a PAL-lander and I don’t want to lead you wrong.
I understand that now your footage is plain Progressive 23,976 and you have to treat it as that.
You only need to think about Interlacing if for any reason you need to go back to i60.
Then (I guess) you will need to add pull-down again, export as ‘i60 Upper First” and check “Interlaced” if you are exporting to Prores or any other codec with the option.

This “Interlaced/progressive” option was added to the DV codec when DV Progressive was introduced.
Interlacing complicates things for 420 codec. We should set this properly when using those codecs.
rafael

http://www.nagavideo.com