Ed Dooley
Forum Replies Created
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By just de-interlacing your footage you’ll lose half the resolution, which you really don’t want to do.
Nattress filters do it without losing resolution, by blending the 2 fields together:
https://www.nattress.com/Products/filmeffects/filmeffects.htm
There are also other filters, as well as workarounds that don’t work quite as well, but are free, do a search of posts in the forum
for deinterlace and it will turn up hundreds of posts.
Ed -
Give more info! What kind of text, what text generator, what size text, how are you viewing it?
Ed -
Is the original footage progressive, or are you just trying to make interlaced footage progressive
while you capture it? Are you viewing it on a video monitor, or your computer monitor?
Ed[northern] “I am capturing some mini DV footage (that I did not shoot) and if I capture it with the DV Pal settings switched to progressive it still seems to give me interlaced footage. I am making sure my capture settings, timeline settings and export settings (when exporting a Quicktime movie as DV pal) are all the same. What can I do to stop the interlacing which looks terrible on quick camera moves? I have tried using the standard de-interlace effect but the result is too low quality. Any help would be greatly appreciated.”
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Tom’s idea of a gray-scale chart is best, but if you have just a white in your scene that you know should be
pure white, but isn’t, open the scene into the viewer and select the 3-way color corrector. Use the Match Hue eye dropper
and open a clip into the Canvas with pure white in it and click the eye dropper on it. Of the 3 eye-droppers (Blacks, Mids,
Whites), one of them, the Whites eye-dropper, should become green (in 5.0.4 and 4.5 it does anyway). Select that and click
the area of the image in the viewer that you know should be white, but isn’t, and it should turn pure white (or as white as the
pure-white you chose to mimic).
Ed -
Why not use the eye dropper in 3Way Color Corrector? Shoot a white card with the Tungsten filmand
digitize that with the rest of the footage, then go into color corrector and use the eye dropper on a
pure white source, and apply it to the white card tungsten footage. The rest of the footage should
correct to the pure white reference.
Ed -
Look around at this site:
https://www.powerretouche.com/White-balance_plugin_introduction.htm
I’ve used their Photoshop Wratten filter plug-in, and I know they have an
After Effects color correction plug-in. It’s possible that it will work with FCP,
or you can see what the RGB equivalent is and create a custom filter in FCP to apply
to your footage using the settings from the plug-in.
Ed -
Cleaner used to be a great product. Always sucked?! When WM7 and QT SV3 Pro was the best you could get,
Cleaner rocked! Version 5 was awesome, then 6 came along and sucked big time.
Ed[David Roth Weiss] “And, I hate to say it, but Cleaner sucks — always has, always will. Its never been a priority at Discreet/Autodesk since the day they acquired it, and its one of the least elegant apps out there, but other than that its perfect.”
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Cleaner for Mac only supports up to WM7. Do as David suggested and you can
compress to WM9, a far superior codec.
Ed -
Think about who your audience is before deciding on QT, WMV, etc. Do you want to reach the largest
number of people? Are they media savvy, so they’ll have QT installed? How big does the image need to be?
H.264 is very good quality, but viewers need QT, and the latest version, v7, at that. WMV will reach the
largest number of people because the player comes with Windows, but Mac users have to install the player
to view it. Do a search of the posts here, and the Compression, and Web Streaming forums for tips. It’s been
discussed over and over again.
EdP.S. Don’t use Real at all, it’s a dying format with the least market penetration.
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Not arguing with Bogie on this, but you can find it at Your Hard Drive Name/Users/Whatever your user name is/Library/Mail
You can find your mailboxes in there.
Ed