[Shin Kurokawa]

IIRC, one of the cameras you mentioned does
24/25p.

‘strobe / slide show look’ < --- > ‘life-like’
Slower frame rate < --- > Faster frame rate

Somewhere between these extremes, you can
obtain a ‘sports TV’ / ‘soap opera’ look
(interlaced) or a ‘film’ / ‘film telecined to video’
look (progressive or progressive-to-interlaced
via adding pulldown).

Obviously the choice to shoot interlaced or
progressive is an artistic decision.

On the other hand —
MPEG2 and many compression schemes perform ‘better’
(trans: less difference between pre- and
post- compression) when there is low entropy –
meaning, least amount of change, noise, motion, etc.

So, in general, progressive footage can be compressed
at higher ratios at a given quality level. Or, another
way to look at it is, the same footage can be compressed
at lower compression ratio to obtain higher visual
quality given the same data size. Pretty important,
since DVD-Video (or MPEG stream on cable, etc.)
is fairly limiting.

Progressive footage (and shot + compressed as such)
also look much ‘better’ on bigger monitors, plasma,
projectors, computer monitors,etc. Again, might
be important given that more consumers are spending
big $ on these types of displays.

-Shin

[Shin Kurokawa]

IIRC, one of the cameras you mentioned does
24/25p.

‘strobe / slide show look’ < --- > ‘life-like’
Slower frame rate < --- > Faster frame rate

Somewhere between these extremes, you can
obtain a ‘sports TV’ / ‘soap opera’ look
(interlaced) or a ‘film’ / ‘film telecined to video’
look (progressive or progressive-to-interlaced
via adding pulldown).

Obviously the choice to shoot interlaced or
progressive is an artistic decision.

On the other hand —
MPEG2 and many compression schemes perform ‘better’
(trans: less difference between pre- and
post- compression) when there is low entropy –
meaning, least amount of change, noise, motion, etc.

So, in general, progressive footage can be compressed
at higher ratios at a given quality level. Or, another
way to look at it is, the same footage can be compressed
at lower compression ratio to obtain higher visual
quality given the same data size. Pretty important,
since DVD-Video (or MPEG stream on cable, etc.)
is fairly limiting.

Progressive footage (and shot + compressed as such)
also look much ‘better’ on bigger monitors, plasma,
projectors, computer monitors,etc. Again, might
be important given that more consumers are spending
big $ on these types of displays.

-Shin

[Shin Kurokawa]

I find that, in general, a combination of mattes
and secondary processing (despite being labor/render-
intensive) would give better results,
but obviously this is a case-by-case thing.
The more motion content there is in the source,
the more complex your workflow may need to be.

Although it’s useful to preprocess low-detailed
(spatially as well as temporally), noisy sources
and feed that as secondary-source, it’s also
possible to easily reach a point of diminishing
return. Seems the preprocessing option in 4.5
will do much of what we had to do
pre 4.5, and it’s that much simpler.

Also, of the tools mentioned, SR and C* are
excellent for creating mattes of this type.
HTH,
-Shin

[Shin Kurokawa]

I find that, in general, a combination of mattes
and secondary processing (despite being labor/render-
intensive) would give better results,
but obviously this is a case-by-case thing.
The more motion content there is in the source,
the more complex your workflow may need to be.

Although it’s useful to preprocess low-detailed
(spatially as well as temporally), noisy sources
and feed that as secondary-source, it’s also
possible to easily reach a point of diminishing
return. Seems the preprocessing option in 4.5
will do much of what we had to do
pre 4.5, and it’s that much simpler.

Also, of the tools mentioned, SR and C* are
excellent for creating mattes of this type.
HTH,
-Shin

[Shin Kurokawa]

Have you played w/ ‘accumulate
folds’ and ‘boundary shape’?
Not sure what you mean by ‘collisions’
and ‘overlapping’ but you can easily
define polys that intersect completely:
A good example is when
poly1 (from shape) = poly2 (to shape),
i.e. no warping.
-Shin

[Shin Kurokawa]

Have you played w/ ‘accumulate
folds’ and ‘boundary shape’?
Not sure what you mean by ‘collisions’
and ‘overlapping’ but you can easily
define polys that intersect completely:
A good example is when
poly1 (from shape) = poly2 (to shape),
i.e. no warping.
-Shin

[Shin Kurokawa]

All of your hotkey definitions in c* are
in *.key files, but unfortunately nothing
_specific_ to flex or any plugins for that
matter. HOWEVER… you can record softkeys
1-5 (numbers) at the operator level…
these are good only for the current session
though, and you may see some funky behavior
with the overlays.
Combine that with the hotkeys for
hand/arrow/poly in c*…
-Shin

shin kurokawa
maximum output designs, inc.
https://www.maximumoutputdesigns.com

[Shin Kurokawa]

All of your hotkey definitions in c* are
in *.key files, but unfortunately nothing
_specific_ to flex or any plugins for that
matter. HOWEVER… you can record softkeys
1-5 (numbers) at the operator level…
these are good only for the current session
though, and you may see some funky behavior
with the overlays.
Combine that with the hotkeys for
hand/arrow/poly in c*…
-Shin

shin kurokawa
maximum output designs, inc.
https://www.maximumoutputdesigns.com

[Shin Kurokawa]

Depends on what you want to do, really.

If you’re doing 24p or 24pa, then you’d
probably want to resolve to the original
progressive frames since the tape itself
is running at 30 fps (29.97 actually)
with pulldown added, hence interlaced.

Why you’d want to post in 24p if you can?
If you ever do a DVD, you can encode progressively,
to gain quality and save on space. Also
with the 24p or 60i(w/uniform 3:2pulldown added)
when you air it, there’s a lot of nice TVs
these days that do pulldown-removal on the fly,
perfect for big plasma/LCD displays. And
the DVD players w/ progressive output to
proper displays — that could be the best
consumer setup for standard-def. So give
your audience who pays for your stuff
what they want 🙂

Your NLE or compositing package
might have a pulldown remover of some kind,
sometimes called IVT(inverse telecine).
These convert your 29.97fps interlaced
footage to a true 24/23.98 progressive footage
(and thus the 24/23.98 timeline) assuming
that there’s pulldown with a uniform
cadence present.

Problems occur when the pulldown pattern
changes — such as from editing a pulldown-
added video at the video rate.
Or your footage might be 24pa instead
of using the regular 3:2. FK can address
these in its pulldown module. No scanline
interpolation is done so all the details
will be there.

If you’re doing 30p, no deinterlacing is
necessary.

hth
-Shin

[Shin Kurokawa]

Depends on what you want to do, really.

If you’re doing 24p or 24pa, then you’d
probably want to resolve to the original
progressive frames since the tape itself
is running at 30 fps (29.97 actually)
with pulldown added, hence interlaced.

Why you’d want to post in 24p if you can?
If you ever do a DVD, you can encode progressively,
to gain quality and save on space. Also
with the 24p or 60i(w/uniform 3:2pulldown added)
when you air it, there’s a lot of nice TVs
these days that do pulldown-removal on the fly,
perfect for big plasma/LCD displays. And
the DVD players w/ progressive output to
proper displays — that could be the best
consumer setup for standard-def. So give
your audience who pays for your stuff
what they want 🙂

Your NLE or compositing package
might have a pulldown remover of some kind,
sometimes called IVT(inverse telecine).
These convert your 29.97fps interlaced
footage to a true 24/23.98 progressive footage
(and thus the 24/23.98 timeline) assuming
that there’s pulldown with a uniform
cadence present.

Problems occur when the pulldown pattern
changes — such as from editing a pulldown-
added video at the video rate.
Or your footage might be 24pa instead
of using the regular 3:2. FK can address
these in its pulldown module. No scanline
interpolation is done so all the details
will be there.

If you’re doing 30p, no deinterlacing is
necessary.

hth
-Shin