[Dan Powers]

Vimeo preset uploaded. Still has muted color. Will try another media encoder after exporting out to Pro res.

[Dan Powers]

Dave, trying a Vimeo preset under H264 to see what happens. Not sure what AME is. Another Media Encoder?

Still doesnt say what the heck is happening with video players interpreting the color space wrong. QT should handle it fine and it should look correct on at least the same machine. If VLC can do it, why cant Apple QT player?
And why is Vimeo mimicking what Apple is doing… makes me think there is some odd color space flag that is imbedded in the export and VLC is ignoring it…
Will know about the Vimeo export in a couple of minutes.

Shane I just compared Chrome and Safari and they look about the same.
I hear ya on the broadcast.
The old story comes to mind about the client watching tv at his grandmothers house and his commercial came on. Five seconds later he is on the phone, screaming at his colorist.

[Dan Powers]

The pause does not show a flicker like in the old days, but it is showing both fields. When playing back at full speed it looks fluid like 60hz, only the motion is obviously not as crisp as 60p. Tried this on three displays, all LCD and one OLED. The resolution actually looks fine which is opposite of what I was seeing in the same tests from early last year. I still had the same test files and am getting different results… I suspect a temporary interpretation bug in an old version…

For many years I worked with 23.98 shot footage that was transfered from film to video at 29.97 with 4:3 cadence. Common practice was for us to work in progressive 29.97 time base and pass the interlace without damage. Only working in an interlaced world when the footage needed to be processed or scaled. Even rendering out a 2997 30p file with 3:2 interlaced fields looked good on air. That was also the suggested workflow in the Quantel days.
I seldom get 23.98 anymore since nobody wants a 3:2 interlaced cadence in their master. (NG for web)
Mastering one file at 23.98, then another at 29.97 with a 3:2 UF added for broadcast masters.
Then the Telestream Flip Factory had the actions backwards in the software. Treating Upper as Lower and Flipping it on file conversion. Stations everywhere using that version of software were airing half res spots for nearly a year. I am the one who proved the bug and got it patched. Poorly handled fields in the post workflow have been a thorn in my side for roughly 35 years. I dont know which will die first. Fields or me.

Dan Powers
Production Services Director
United States Money Reserve
Austin, TX

[Dan Powers]

I am monitoring using BMD UltraStudio Extreme 4K connected to an EIZO reference monitor.
Also connected to a LG OLED monitor (expensive TV).

There is no monitor “designed” for interlace except for my tube monitor (built in the 80’s which has been deep in storage for the last 10 years.

Also, I have been delivering progressive 2997 (1080p) footage to broadcast outlets for many years and it looks stellar.
Interlaced 1080i looks like live sports or old soap operas. 23.98 with a 4:3 cadence added looks fine on air at 1080i 29.97.

My issue is that premiere WILL NOT look good in any configuration with an interlaced source file and an interlaced sequence. Even when viewed on a “TV” connected to a broadcast compliant 1080i device like the BMD.

I will challenge anyone to get a nice clean graphic file rendered out interlaced and find a way for it to look good on a monitor (TV) without it looking half resolution. Disclaimers are nearly illegible.

Someone, maybe Andy, commented that it looks fine in his world. Andy put a graphic created in AE in there and see if the edges of your rounded fonts look like crap or if they look as perfect as a progressive project. Again, I do not believe Premiere handles interlaced footage properly,

[Dan Powers]

Even on a 60 second spot export I am having a 30 second hold at the 100% mark. So on a 30 minute show it holds for about 10 minutes. This isnt a slouch machine either. It is a 2013 Mac Pro 10 core but it ihas fast Thunderbolt2 Arrays for video storage and 64GB of ram. Cant imagine why the mux is taking so long…

[Dan Powers]

Many thanks guys!

[Dan Powers]

https://f1.creativecow.net/11957/an-inside-chroma-key#11958

Link to image

[Dan Powers]

So… I sent in a 23.98p master for customization. Came back as 29.97 with a 3:2 cadence. OK fine. So, now I want to see how it looks in my edit system.

Put file in PPRO, Make sequence from clip. Play. Looks like crap.

Go to source clip, modify>Interp>Progressive, Make sequence from clip, play. Looks great. WTF???

In my first example, is premiere messing with the interlaced file in some way to make it look bad? I would expect it would look bad when paused (on a field) but when playing it looks like a field. This is using Black Magic Design Ultra Studio 4K with pretty much the best gear out there. Also see the same results just viewing on the edit screen.
Playing an interlaced video clip looks bad unless I modify it to progressive and change sequence setting back to progressive. Try it with something that has small supers.

[Dan Powers]

Would you by chance have a D500 Video card on a Mac Pro?
I have random flickering of supers unless I turn off hardware acceleration. You may try that and see if it goes away. I believe it to be a GPU error. Apple denies the problem exists. Says it is adobe. Adobe says it is the GPU which I do tend to agree.

[Dan Powers]

He is on a Mac Pro. Like me.