Robert Brown
Forum Replies Created
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True but if he can’t monitor it then how’s he gonna know if he gets the field order right. I’ve de-interlaced tons of stuff for national television looks fine, and a safe way to avoid reversing the fields which is the worst thing you can do. But in the end if you can’t test it you’re in the dark.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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If progressive looks good on your computer then odds are it will look good on a TV. I don’t know for sure but it’s probably throwing one of the fields away which will give it a 30p look which I personally like. I would look at a frame with a lot of motion and if those frames look OK like with no obvious interlacing then your probably good.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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[Bret Williams] “Why would you not use interlacing? “
True. Interlacing was a compromise from the beginning due to limited bandwidth. Those same issues exist today even though much higher bandwidths are available. But if you need the temporal resolution of 60 fps at 1080 then interlaced is the only way to go. Hopefully 1080 60P becomes a reality at some point.
An interesting thing about 720P is in comparison to 1080i, you have a full 720 lines of vertical rez as opposed to 1080i you only have 540 per field so any type of slo-mo at 1080i takes a pretty big hit in sharpness. Of course 1080 24p and 30p are definitely better than 720p but for sports and things where you do a lot of slo-mo, 720 has advantages as you get the full rez at whatever speed.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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Yeah I was really disappointed to see both interlaced and 29.97 still around after HD showed up.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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Well “P” or progressive is one of those words like non-drop frame. The name wouldn’t exist if there wasn’t this other thing out there as non-drop would be just called time code, and and I guess we would just say fps and there would be no I or P if interlaced had been invented. But AE treats video or frames as P which just means every pixel in the frame gets output at the same time vs interlaced where half goes out as a chunk then the other half right after.
The reason I always thought FCP was weak in this was just from coming from a linear background where vendors who really knew video set the bar. FCP as far as I can tell when doing a slo mo processes full frames and doesn’t break apart the fields. I haven’t cut sd a while in FCP but I remember having to turn frame blending on for any slo mo which was pretty bad in comparison to Beta SP and Digi Beta and if you turned frame blending off they were totally unacceptable. Yeah there were fields kit, and Twixtor etc but all of that stuff seemed really slow. Avid which I’ve never been a huge fan of at least gave you different modes for slo mos and they got the closest I’d seen to the way VTSs were before. I always wanted AE like controls in FCP and so the Adobe suite to me is the best for all of that as you can deal with 3:2 pulldown or whatever and it’s spot on.
But like I mentioned before progressive works great in FCP. And since here at Fox were 720P we don’t have to deal with all of that anymore.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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[Jeremy Garchow] “There are no “p” timelines in AE.”
Dude what is your deal? I answered the guys question when you didn’t and now you’re nit picking my answer. But if you are going to nit pick you should get your facts straight. ALL AE timelines are in fact P, but yeah interlacing if any is added on the way out. Jeez. If I’ve learned anything in 20 years of video it’d be fields and frames. And if you think FCP does great with interlaced well then…
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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[Alan Lacey] “Don’t want to hijack this forum into an AE one but would you tell me briefly how I could get my SD 50i to 25p in AE Jeremy.”
Bring your footage in to AE. In Interpret Footage which you get by right clicking on a shot in the project window, there are some field settings like upper first or lower if I remember right. Pick one of those, bring your shot into a 25P timeline and render
You can also do it in FCP using the de-interlace plugin. I haven’t tried it in compressor..
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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[Jeremy Garchow] “Lets take a big step back here.
Fcp7 handled interlaced material just fine. “
It did on a basic playback sense but you have no control of field or frame based processing like I had in the linear days and the quality took a big step back because of that. Of course everybody probably got used to frame blended framed based slo mos of field based materials but a 1980’s beta-cam slo mo was far better and the K-Scope I used to use gave my every option I would ever want. Sorry but FCP is pretty weak at all of this stuff. Works fine in progressive though.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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Win 7 64 is actually pretty good. I’m finding that OSX has some things built in that make it nicer off the bat but when you do a little digging you can find little apps to fix a lot of those things in Windows. I’m finding memory management to be better inWin 7 meaning it handles ram intensive programs a little better and prevents them from paging ram and slowing down.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos
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I can’t say about FCP X but a tube monitor is always the best to judge fields since that was what they were designed for. I had many complaints about FCP with interlaced and it really wasn’t designed well for it – slo mos are never field rendered but frame rendered with frame blend the only thing making them useable. We moved to 720 at work and now all those complaints are gone. I’d bet X is meant for progressive as it seemed Apple never really got how to deal with interlaced. Don’t know if that helps but Avid seemed to me to be one of the few programs that was able to get that right.
Robert Brown
Editor/VFX/Colorist – FCP, Smoke, Quantel Pablo, After Effects, 3DS MAX, Premiere Prohttps://vimeo.com/user3987510/videos