Confused about deinterlacing
OK, I'm shooting most of my stuff at 25p or 50i. As I understand it, both are interlaced. When capturing to Vegas, do I need to deinterlace either of those, and if so, which method do I use (blend or interpolate)? I plan on using it for the internet.
vegas does not have a project property template for 1440x1080 25p 30p or 24p. 60i is the only option, so yes you have to deinterlace it. Blend for fast, interpolate for normal footage.
Only if you shoot 50i and the end result will be viewed on a computer (youtube etc).Originally Posted by Orion Satori
For smooth motion on a TV, shoot 50i.
For "film look" shoot 25p, which needs no de-interlacing, at all.
In any case, don't re-code to 24, 30 or 60!
blondandfun, this is not exactly correct. Vegas does not have a *template* for PF footage, but it does have the means to put together properties that mirror such source footage. So, for PF25 footage, pick the 50i HDV template, and then change field order to progressive, deinterlacing to NONE, and quality to BEST. Then, Vegas will be able to recognize PF25 as the footage that it really is, 25p progressive that is. You can edit as such.
If your footage is 50i, use interpolation, it creates no ghosting, export as 720p. Don't deinterlace if you export for DVDs, keep 50i.
Now, the question really is how you want to edit/export your project as, if you're mixing and matching different kinds of formats. You'll have to ask yourself what's the "main" footage in your project, PF25 or 50i.
If it's 50i, and that's how you want to edit/export (e.g. interlaced DVDs), simply use the 50i HDV template. PF25 footage will become 50i gracefully.
If your goal is PF25, things are a bit more complicated. You'd have to open only the 50i .m2t files, set an HDV 50i project, quality at BEST, Upper Field First field order, Deinterlacing set to Interpolation, and then export as 1440x1080x1.3333 25.00 fps, PROGRESSIVE, using an intermediate codec (not .m2t, you will be losing quality if you re-save as m2t, since it will have to re-encode). Then, create a new poject, pick the 50i HDV template, and change field order to progressive, deinterlacing to NONE, and quality as BEST. Add your PF25 footage and the intermediate 25p files. You will now be editing at 25p, and you will export as such.
Hey, can't you just use a 50i timeline, import both 50i and 25pf into it, deinterlace the 50i clips "in-situ", and be done? The end result is indistinguishable from 25p.
(This is what I do on FCE4.)
No, because it depends on the editor's engine and how it handles various formats. Vegas is pretty clever with formats, more so than Apple's products, so if you deinterlace PF25 you'll lose half the resolution, while you could retain it if you deinterlace 50i first to become 25p (that's the point where you will lose half the res with interpolation, but you will KEEP the resolution of PF25 -- so you don't lose everything.), import it in a true 25p timeline, and then add the PF25.
That's why I don't shoot interlaced anymore. Because if I mix it with progressive, it's going to be a mess.
Why do that? 25pf is two different spatial fields of the same temporal info - run that in a 50i timeline, you still have the full resolution.
Note that all I shoot is intended for TV / DVD, so I don't use 25p as the final format. (Furthermore, it's downconverted to PAL 576i, so it loses resolution anyway...)
I thought that the program was smart enough to leave the progressive footage alone and render just 60i clips. I typically shoot 95% in PF30 and have 5% in HV20 60i stuff as B-roll.
If this is true then many of my vimeo videos are just 960x540p instead of 720p.
Crap, I have to go back and recapture some footage because I didn't notice the interlace option (which was at blend fields) on the properties.
I was wondering how that would all work out. What do you do if you want to shoot slow motion? Still shoot progressive? What do the pros do in big films? I see people always saying to use 50i or 60i for slow motion because you have more info when it's slowed down, but what do big films do? Just shoot it all in 24p or 25p?
So far, they've mostly used 35mm film cameras that can run at 120 to 300 fps. Some special models can get up to 1000 fps. (Scientific cameras can go up to a million fps, for very short bursts. http://www.youtube.com/watch?v=QfDoQwIAaXg )
Video solutions are available, but not all have the resolution of 35mm film.
Last edited by Janke; 2011 March 19th at 05:52.
If you plan to create a film in 25p, then shoot 25p. If you intend to have lots of slo-mo shots, then shoot those in 50i........
Your best bet is to pre-process the slow-mo shots and save those into an intermediate codec as 25p (I would use Avisynth for this) and import those clips into your timeline.
There is no such thing as "Idiot-Proof".........a good Idiot will get around that every time.
Ah, ok.
Ok, thanks. Avisynth was mentioned in my other thread as well. Guess I better learn how to use that thing. Preprocess them as in slow them down first and then save them as 25p?
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