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Should I master to HDCAM 1080i or 1080p
Dear Forum,
I am just about to organise my deliverables for a 35mm short film that was transferred and edited as HDCAM 1080p 25fps.
I can’t get a definitive answer on what I should master too – HDCAM 1080i or 1080p. I’ve been told most Film Festivals want 1080i but can’t find any info in their submission criteria which goes into any detail beyond asking for HDCAM or get any answer to email queries.
I would have thought that progressive would have been the best screening option for festivals and if it is being projected it wouldn’t matter if it was progressive or interlaced??
I am thinking I should master to HDCAM 1080p and make a 1080i sub master as I definitely wouldn’t want to have to make a progressive copy from an interlaced master further down the track.
What do you think?
Cheers,
Sarah
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8 Replies
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HDcam records 1080i. Progressive material is recorded psf which is progressive inside an interlaced signal.
How are you getting the project to tape? If you are supplying a file to a facility then it can be progressive and let them output psf to tape from a card – Kona/Matrox or Decklink.
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Hi Michael,
Thank you for your very prompt reply and for explaining the process to me.
I had provided the post house with an ungraded 1080p 8 bit QuickTime which they graded and are mastering to HDCAM tape.
So, if I understand correctly – my progressive master will sit in an interlaced wrapper on HDCAM Tape and play as progressive in theatres and as interlaced on TV. I have requested that they give me a progressive HD quicktime so that I can make progressive DVDs and webmovies as needed.
Thanks for helping clear this up for me,
Cheers,
Sarah
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[Sarah Davis] “So, if I understand correctly – my progressive master will sit in an interlaced wrapper on HDCAM Tape and play as progressive in theatres and as interlaced on TV. I have requested that they give me a progressive HD quicktime so that I can make progressive DVDs and webmovies as needed.”
Right.
A progressive movie can be read as progressive or Interlaced (Upper or Lower) without problem.
An Interlaced movie needs always to be read with the proper field order.
rafael -
Thanks Rafael, appreciate your input.
Sarah
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So is it correct/safe to say that one should always master PROGRESSIVE – then all bases are covered?
-Bobby
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[Bobby Abate] “So is it correct/safe to say that one should always master PROGRESSIVE – then all bases are covered?”
No. There is no one size fits all solution. Many broadcasters require interlaced video masters. You have to supply what’s required in every case.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comDon’t miss my new Creative Cow Podcast: Producing Episodic TV with “24” Producer Michael Klick:
https://library.creativecow.net/weiss_roth_david/Podcast-Series-1_Michael-Klick/1POST-PRODUCTION WITHOUT THE USUAL INSANITY ™
Creative COW contributing editor and a forum host of the Business & Marketing and Apple Final Cut Pro forums.
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Hm. What about a video that’s going from FCP / DVCPRO HD 1080i60
to HDCAM tape for projection in a theater? I do not know anything about the projector.The video has several animations that seems to look better in FCP when exported progressive without fields. Wondering if I should export the entire video w/o fields or just leave it.
-Bobby
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This just in from the projectionist where my video will be screened:
The HDCAM deck is Sony J-H3
The video from the J-H3 goes to a Barco ACS-2048 scaler via HDSDI.
The video projector is a Barco DP-2K32B.-Bobby
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