So… should I use re:visions deinterlacer OR Panasonics AG-DVX100 progressive setting ?

[Shin Kurokawa]

Depends on what you want to do, really.

If you’re doing 24p or 24pa, then you’d
probably want to resolve to the original
progressive frames since the tape itself
is running at 30 fps (29.97 actually)
with pulldown added, hence interlaced.

Why you’d want to post in 24p if you can?
If you ever do a DVD, you can encode progressively,
to gain quality and save on space. Also
with the 24p or 60i(w/uniform 3:2pulldown added)
when you air it, there’s a lot of nice TVs
these days that do pulldown-removal on the fly,
perfect for big plasma/LCD displays. And
the DVD players w/ progressive output to
proper displays — that could be the best
consumer setup for standard-def. So give
your audience who pays for your stuff
what they want 🙂

Your NLE or compositing package
might have a pulldown remover of some kind,
sometimes called IVT(inverse telecine).
These convert your 29.97fps interlaced
footage to a true 24/23.98 progressive footage
(and thus the 24/23.98 timeline) assuming
that there’s pulldown with a uniform
cadence present.

Problems occur when the pulldown pattern
changes — such as from editing a pulldown-
added video at the video rate.
Or your footage might be 24pa instead
of using the regular 3:2. FK can address
these in its pulldown module. No scanline
interpolation is done so all the details
will be there.

If you’re doing 30p, no deinterlacing is
necessary.

hth
-Shin

[Anders Haavie]

Thanks for a great reply.

I live in Norway, so we have PAL:

What I am thinking of is wheter I will get better results with doing the interlacing in post production compared to the camera way of doing it.. please give me a yes-no answere 🙂

Anders

[Jan Crittenden livingston]

A progressive capture will net you greater resolution than de-interlacing two fields. The de-interlacer has to lose a little resolution between the two fields in order to get rid of the temporal difference of those two fields. The DVX100 will provide a better result.

Best regards,

Jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems

[Pierre Jasmin]

I would shoot 25P unless some contract tells you not too… and limit usage of a software Deinterlacing process to additional material you insert that might come with fields and you are tyring to have an homogeneous look across.

The only time I would use 50i is on shots with extreme action (like sports) and you plan to retime the material (like do slow-mo with Twixtor, then on fast action the additional time sampling can be helpful)

Pierre