[Tim Kolb]

However, keep in mind that most software is creating interlacing that’s as “non-interlaced” looking as possible…

You have 25 instances every second…you need 50 for the footage to “look interlaced”.

If it’s not a ton of footage, it could theoretically be slow mo’d to 50%, creating an interpolated frame for each original frame…then render it out and speed it up to 200% in 50i…

There really isn’t a short route. most “reinterlacing” in software or hardware is typically a signal re-format, not a picture re-format…it typically ends up PsF…progressive segmented frame…a progressive frame cut into two fields so equipment that wants fields has fields.

TimK

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

I’m surprised there isn’t more notice of this…

I’ll be back-dating all my 32 bit machines to CS3 quite likely…

CS4 is a load for a 32 bit OS…

I have high hopes for Windows 7…Vista 64 has been a bit of a trick for peripheral drivers and that sort of thing.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

[grinner hester] “No book can tell you where and when to cut, man.”

That is correct. This is one area where your skill level at editing is different than your software knowledge. You can get trained on software…to gain skill at editing itself, you need to sit in the seat and look a no-way-out continuity crisis in the face enough times to skip over the initial pang of doom and just get back to work…

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

The ‘techs’ may be looking for field movement…which you won’t have.

You only have 25 instances of movement every second. Whether it’s progressive or interlaced, you won’t have indications of 50 fields of movement…the two fields that the frame is divided into will both represent the same picture.

That said, putting the HD content on a SD interlaced timeline and outputting to MPEG as 25i should technically take care of it. Aesthetically, it will still look progressive.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

[Noah Kadner] “Are you serious? Does this affect in any way the operation of the camera?”

Lettering that identifies controls is helpful. i have a feeling he’s not referring to the logo.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

[Tom Daigon] “yes but HDMI doesnt carry timecode info like HDSDI does.”

Ah…now I understand. Unfortunately very true.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

[Tom Daigon] “Someone said they dropped the HD_SDI for HDMI. If they got rid of HD-SDI…MAJOR bummer. By hooking this cam up to a Nanoflash or AJA Ki Pro suddenly you are sending an uncompressed 4:2:2 signal to either device.”

Either device you mentioned takes an HDMI input. Bummer averted.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

it sounds like the pixel size of the JPG is likely much larger than your video frame size…correct ? I’d try reducing the size of the JPG to something no more than 2x the vido frame size in width and if that alone isn’t enough, possibly run a slight blur on it in photoshop (VERY slight)

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

There really are only a couple settings you need to be concerned with…

First, are you in a DV project?

Then, in playback settings on the bottom of the program panel, select “DV 29.97” or DV 25fps as appropriate…I know when I’m editing, I have the video overlay routed to one of my computer displays…I would have to switch it back to the DV setting to get it to output to FireWire.

The program settings thing is what seems to be a bit off the path for most people.

TimK,
Director, Consultant
Kolb Productions,

[Tim Kolb]

…also, I think that uncompressed footage is a lot larger than you think.

DV/DVcam/DVC Pro 25 Mbps runs about 225 MBytes/minute…uncompressed 8 bit SD is about 1.25 GBytes/minute.

TimK,
Director, Consultant
Kolb Productions,