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Settings – footage dv cam
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Life is short, and I’m stuck in this. Ok, I’m slowly getting there. I guess the 25p is good enough. Is the best to share to dvd?
Ok, one more question: maybe I should start new thread:
I have a digital camera with footage shot in avchd, 50i. When I drop it on a project in fcpx, the project is 50p, Should I be happy ( I’m going to screen it the same way as I’ve mentioned)or should I change to 50i.Should I transcode? Uggggh – confused!
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[Charlie Austin] “So I always run a progressive project to get rid of the interlacing for presentations etc.”
Which, again, is a completely superfluous step IMHO, since your export will ultimately decide whether the final product is progressive or not. Only that way you’re eliminating any possibility of exporting an interlaced version, whether you need it or not. But it’s smarter to leave your options open. Aside from it not offering any type of advantage anyway. Why would you want to have to render everything all the time if you plain don’t need it? Put it in the correct project and you’re only rendering what’s necessary, therefore saving time and resources.
[Morten Slemdal] “Should I use another player on my mac for better tv result? “
YES. Simply using a DVD or BD or even better an Apple TV would most certainly be far less inconvenient and easier to implement. It’s probably not even sending an interlaced image to the TV, which would obviously explain the “crappiness”, too. Way to much work for such a simple task imho.
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Great – I could do the dvd, without actually burning it to disc I guess. Just load it from file/open? Then I can keep the project as interlaced.
That said – I think my 25p project is just fine for now.
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[Morten Slemdal] “I think my 25p project is just fine for now.”
Again… you do not want to be working in a 25p project, but in a 25i project! Working with 25p will only further diminish the quality of the footage, especially when it comes to motion. Technically, there is in fact no such thing as 50i, since there is no such thing as 50 interlaced frames, they’re 25 interlaced frames. Which is why Apple (correctly) calls it 25i where others say 50i. The whole 50i (imho) nonsense is just some confusing marketing speak of various camera OEMs along the lines of “They go to 11!” to make things sound better. Or maybe they think it makes more sense to people unfamiliar with what interlace even is? Since in SD (which your DV obviously is) there was and is no such thing as “p”. Everything is and was always interlaced.
And how do you figure that playing it from a FILE is going to change anything? That would be the exact same thing as you’re doing now, just a different codec. ProRes preserves the fields just as well and you hate it. You want to play it from an ACTUAL DVD player or get an Apple TV and forget about the superfluous cable.
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Ok – why is mirroring through apple tv better than hdmi cable? I will still play it from QT, or do you mean another player?
With my other camera I shoot in 50i, (ok 25i) and fcpx interpret it as 25p (first clip on tl) The codec is avchd. Does this make sense at all, in your opinion?
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[Morten Slemdal] “fcpx interpret it as 25p”
What does the info window say it is? Could it be you THINK you’re shooting 25i but actually shooting 50p? Because I for one have yet to see FCP misinterpret footage of that kind. But I guess anything is possible.
Putting the clip in a 25i timeline, turning on both fields in the viewer and then looking at a frame with a lot of motion in it would quickly clarify if it’s in fact interlaced or not, since it would be clearly visible.
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Jupp – my footage is def 50i, and I was suprised that my project settings said 25p. So, after what you said earlier on – project settings should be changed to 25i, especially if I’m going for the dvd alternative.
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[Robin S. Kurz] “Technically, there is in fact no such thing as 50i, since there is no such thing as 50 interlaced frames, they’re 25 interlaced frames. Which is why Apple (correctly) calls it 25i where others say 50i. The whole 50i (imho) nonsense is just some confusing marketing speak of various camera OEMs along the lines of “They go to 11!” to make things sound better. Or maybe they think it makes more sense to people unfamiliar with what interlace even is?”
Going off topic…
I think the “number-letter” designation comes from engineering, and it makes a lot of sense if you look at it a little differently.
Instead of interpreting the number as the frame rate, think of it as the base refresh rate. So 50i isn’t meant to be read as “50 interlaced frames” but rather “50 refreshes per second, and those refreshes are interlaced fields” versus 25p as “25 refreshes per second, which are progressive frames.”
This makes less sense in the context of editorial where you care about whole frames, but it makes it quite clear for engineers how often a device or protocol must refresh or sample. Sampling 25 times per second is insufficient for a “25i” signal.
Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive | RenderBreak [blog] | Profile [LinkedIn] -
Yes, if the footage is in fact interlaced, then you want to be editing it in an interlaced (25i) project.
It’s very odd that it’s being misinterpreted. And this is material that came directly from the camera/card? I.e. wasn’t captured or converted outside of FCP? Any chance you could upload a short example somewhere to look at? I’m curious…
And just to sum things up…
Destination TV = interlaced. So shooting, editing and mastering interlaced will make for much better quality, in particular with motion.
Destination everywhere else = progressive. So if your project in fact doesn’t run the risk of being shown on a regular TV, then it really doesn’t matter if you’re editing i or p. Only at the very latest upon export/mastering it should be progressive.____________________________________________________
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I did some investigation this weekend, and now my Project is set to interlaced after dropping my 50i media on the timeline; so that make sense.
Thanx for good help.
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