Ed Dooley
Forum Replies Created
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If these are stills that didn’t originate from video then they have no interlacing to de-interlace. It sounds like what you’re describing is a common issue with stills used in video,
and best cured by adding a little (meaning .6 to2) vertical motion blur in Photoshop, or the flicker filter in FCP (I prefer the control of the Motion Blur filter).
Ed -
Do a search of the posts, it’s been talked about a lot!
Ed -
Sorry, I’ve got the HD-110.
Ed -
It says it right on JVC’s site:
“The GY-HD200 can be set to output 1080i/60 from any recorded 720p/60 footage, whether recorded on a MiniDV cassette or on the DR-HD100 hard disk drive.”
Ed[PatrickS] “On the JVC website, it says this about the GY-HD200U and GY-HD250U: “New cross converter outputs 1080i from live or recorded HDV”.
Does this mean I can shoot 720p on the tape, then later, capture it out of the camera as 1080i? Has anyone done this before?
Also, could I record the 1080i straight out of the camera into a firestore hard drive? The reason I ask is this: Avid can’t mix HD formats – 720p and 1080i. But if I could capture the JVC HDV as 1080i, then I could mix it with HDV from Canon.
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I’ve seen reviews (previews) that said later this year, with one saying Q3 of this year. It only does DVCProHD, but a blogger posted a reply from MOTU about proRes, they said they’re looking into that ability (my guess: it won’t happen anytime soon, since Apple and AJA worked together on the IO HD).
Ed -
The built-in de-interlacer throws away information. I wouldn’t recommend it when there are other (even free) options.
Ed[camshaft] “What are people’s thoughts on FCP’s de-interlacer? I have used it on DV and it “appears” to work very well. When going for a look is when I’ve used Nattress Film FX, and the included de-interlacing. Both of these options are loads cheaper than Boris.”
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And one more: Do a search here for it in this forum. Compression does a great job
(without just throwing away a field). It’s in the Advanced Format Conversion section.
Ed -
It *does* look interesting, although I’m not sure the limitation of bringing everything into the DVCProHD codec is going to win over a lot of people. I certainly see someone with a DVCPro camera using it to bring in other footage to match in a timeline, but for everyone else the ProRes codec seems like a much better option. Maybe they’ll broaden their codec support.
And David, the Kona LH is the better deal, I agree, *if* you don’t need the portability that an IOHD or this new MOTU box offer. And BTW, it’s not the Kona IOHD, Kona and IO are 2 different beasts in the AJA stable. 🙂
Ed -
Or a 9 pound Mac Book Pro with built in HD I/O and fold out 24″ monitor. 🙂
Ed[msacci] “Maybe a IoHDLA/D by Christmas :-)”
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You can’t. And I haven’t run into any interlace flicker yet. I think it’s eliminated or at least greatly reduced in the progressive world.
Ed[pseudojag] “Howdy Cowpokes,
I’m about to embark on my maiden HD voyage and was wondering?
If your preview monitor is a flat panel display (plasma or LCD? which I am assuming is, in most cases, displaying a progressive image) how can you gauge whether there is interlace flicker? Does the “buzzing” of text or thin horizontal lines occur as frequently at resolutions many times greater than standard definition?”