Simon Modery
Forum Replies Created
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Well, I think there is no definite right or wrong on this. But it is one of my policies never to rename files, because:
– If you keep the original names, you have consecutive numbering and you know (and can proof to others) that you didn’t loose a file. (I get this quite a lot, that directors think they shot something they actually haven’t)
– If you need to go back to the original camera files, it is almost impossible with changed names (let’s say in the event that you transcoded material the wrong way and didn’t notice for a while).
– If several people in several locations work with the same footage, it makes conversations and exchange via EDL / XML a lot easier if all have kept the same filenames.
Head of Postproduction
Motherlode -
Doesn’t look like an interlacing problem to me. It looks more like the frame rate of the footage was changed. The ghosting that you see are interpolated frames. (Since old cartoons like that only have very few frames per second animated, interpolating frames does not quite work. That’s why it looks that bad.)
There is nothing you can do to fix that, except to find a version of the clip that still has the original framerate.Head of Postproduction
Motherlode -
Gary Adcock wrote this:
https://forums.creativecow.net/readpost/8/1000923
Head of Postproduction
Motherlode -
As far as I know (and actually I don’t remember where I got it from) Prores keeps the original 256 steps of the 8 bit signal inside the 10bit colour space. Prores HQ on the other hand will blow the 8bit signal up so it stretches over the 1024 steps of the 10 bit space. So your material goes trough an unnecessary re-encoding process.
But probably this will never result in a perceptible quality loss.Head of Postproduction
Motherlode -
HQ is also said to be harmful for 8-bit color space footage, because it stretches it to 10 -bit, while the normal Prores allows the 8-bit to float in the 10-bit space.
Head of Postproduction
Motherlode -
Is the photo you posted turned by 90 degrees? Because if the lines really go vertical it can’t be a de-interlacing issue (field lines are always horizontal).
Head of Postproduction
Motherlode -
I would open them in PS as an image sequence and then export them as a movie (file>export>render movie).
FCP is not good at handling large stills and certainly not thousands of them, so creating a MOV in PS saves you a lot of trouble and render time.
Export as a Prores and not with a bigger frame size than you actually need in the end. (FCP can’t handle the full resolution of a 5D still)Head of Postproduction
Motherlode -
Hi,
5D to RGB improves the look by counter-balancing the fairly strong compression of the 5D.
Have a look at that:
https://simonmodery.com/2011/05/15/optimising-5d-footage/However, the improvement is minimal and definitely not worth doing it again.
Mixed frame rates result in interpolated pictures (because the program needs to create frames that are not in the material). Depending on the amount of movement in the footage it might or might not look all right. Footage of a car race suffers more from interpolated frames than a guy talking to camera.
But either way mixed frame rates mean additional render time. So if 50% of the footage is already processed at the wrong frame rate I would probably do the rest in the same way …Head of Postproduction
Motherlode -
I agree with Warren. Get 5D to RBG. Not only will it do a better job, ii also will automatically detect weather your footage is progressive or interlaced (and your type of interlaced – upper or lower).
The other way to find out about your Field Dominance to import one clip info FCP and right-click on it. From the drop down menu you select “Item Properties”. A window will open, check what it written under “Field Dominance”. It can be progressive (no field dominance) upper and lower. Use that in MPEGstream if you really need to use that program.
You should also set your sequence setting to the same value. If you need to de-interlace your material for delivery, I would do that in the last step (when you export out of FCP)
Head of Postproduction
Motherlode -
Yes there is. When you select a Destination the ‘Inspector’ window shows the option ‘Output Filename Template’. Set this to ‘Source Media Name’ only.
Head of Postproduction
Motherlode