[Adrian Smith]

Thanks Bruce. Good advice about using a compact external mixer. I’m probably going with a Canon C300. I usually work with a sound person but this is a solo project where I’m going to be working in some very remote locations. So I need to be as compact and low profile as possible. Thanks again.

[Adrian Smith]

No – as I mentioned it’s only the live action video that is currently interlaced and not the graphics and animation. It’s a mix of interlaced and non-interlaced.

I think my approach is going to be to deinterlace the live action video using RE:Vision’s Fields Kit Deinterlacer then bring that footage into a 30p sequence along with the graphics and animation.

[Adrian Smith]

Thanks Chris.

[Adrian Smith]

The G Tech G Drive a good (and I use G =Tech drives all the time in editing workflows, etc.) but wouldn’t I need a laptop to access it?

The advantage of the NEXTO DI ND2901 is that it has a card reader built in. You can also plug your camera straight into it. So I can back up my cards to a 1TB external drive without needing to lug a laptop around too.

That said I would like to hear from people who have successfully used it while on the road.

Thanks.

[Adrian Smith]

In this instance the video clips I am working with are 1440 x 1080. The video was originally shot in HDV and is now ProRes 422.

The video does not look deinterlaced (no jagged edges, etc.) after running the Field Kit Deinterlacer but the info boxes see it as interlaced in After Effects and in FCP. I rendered it using the above settings.

As a comparison when I deinterlace in Compressor using the frame controls the video is output as progressive and is is seen as such by After Effects an FCP.

Many have told me that Field Kit does a superior job of deinterlacing but I’m confused as to why it doesn’t seem to apparently alter the form of the video file – even if the appearance of the video is deinterlaced.

Is there anything I should change in the settings for this to happen. I have searched (and searched) online but found nothing definitive.

I don’t often work with deinterlaced video anymore – but clients still send me things from their archives that need the deinterlacing process. I would like to offer the best results.

Not sure if it has to do with the way I’m exporting. My current workflow is to export from crusty old FCP7 as a self-contained Quicktime Movie using the current settings option. Maybe this is where the madness lies – as in Compressor I would change the output setting to Progressive.

Many thanks.

[Adrian Smith]

Thanks – I shall indeed try the free trial download. Good advice.

The software is spoken very highly of – but wow that’s one funky product website.

I shall report back with my findings.

[Adrian Smith]

I am anticipating editing the project in the ProRes 422 format using Adobe Premiere Pro and After Effects.

I am in the pre-production/planning stage of things. Just want to make sure I have a good workflow – and try minimize the inevitable disasters down the road.

[Adrian Smith]

Thanks for the info Scott. I was thinking pretty much the same about Shake myself (that it might be overkill and do more harm than good).

I might buy it anyway and install on an older laptop still running Leopard. It’s currently so cheap you might as well buy it just to have it.

None of the shots are giving me trouble (other than the usual). I just want to be sure I can make them as clean as possible for large screen projection.

So it is currently good – I just want to make it great.

And if I can get it to great without being too much of a pain in the ass I will have a clear winner.

[Adrian Smith]

Thanks for the info. Playing around with DVMatte and Keylight.

Sources come from different cameras at different times (depending on the DP). Current project was shot with the Panasonic AG-AF100.

Thus far they both seem to do a comparable job – Keylight seems quicker and easier. Both clean. Still experimenting.

[Adrian Smith]

Thanks for providing the comparison video, Phil. Nice work.