25p material recorgnised as 25i

Hi,
Shooting 25p using a Canon HF100 PAL.
After import FCPX identify it as 25i. Looks like a incompatibility. What shall I do as workaround? Change the properties for each clip, project or both? Or does it not matter. At first look the output from FCPX (Saving movie without change from source) looks pretty good.
Thanks
Olof

Thanks Ian,
But I think it is more of the FCPX problem rather the camera itself ?
Anyone can help ?
Thanks
Ian R. Brown wrote:
Perhaps I should have said, "most consumer AVCHD is interlaced".
Your GH3 is a high end still camera and the Sony is a pro/semi pro camcorder.
I know nothing about either.

Similar Messages

1080p pour export quality for 25p material from Canon HF100 PAL

Hi
I have now tested iMovie 11 with a Canon HF100 PAL version. Shooting in progressive.
The AIC import has good quality.
New 1080p export gives same pour quality as before when using QuickTime 7 for h.264 export.
AIC export provides good quality.
So still nu easy way for export from iMovie. Is this common or is it a camera compatibility issue?
Thanks
Olof

I just posted this for another user with the same problem.
I have a Sony VG10 camcorder that shoots 30p and records it as 1080i60. iMovie sees this as interlaced video and deinterlaces it IF I use most FX.
So I did a bit of googling and found there is a simple solution. I bought Steve Mullens newest version (09 and 11) of his "Ins and Outs of iMovie." With it I got a free copy of his iMakeFullHD utility. So after importing AVCHD I run the utility on the folder of clips and in a few seconds all the clips are now marked as progressive. Which is actually what they are! iMovie now treats them as 1080p30 -- exactly as it should.
When reading about the utility I remember skipping the stuff on PAL HD camcorders. So I just reread it and it's no big deal eitherl.
If you shoot 1080i50, the video is marked as 1080p25. This is exactly the reverse of what my camera does. So while I need to use iMakeFullHD, PAL users do not.
If you shoot 1080p25, the video is marked as 1080i50. This is exactly like my camera. So you have to use iMakeFullHD to remark it is as progressive -- which is what it is.
Now Ive no idea why Sony or Canon did what they did, but they did. After buying a $2000 camcorder, buying the book was by far the simpler solution.
I know he has a section on 1080p50 and 1080p60 from the tms700. Didn't apply to me so i skimmed it. Also, having had imovie 09 i was surprised to read that 11 now supports real 1080p24. There's also a section on removing 2-3 pulldown from 1080i60 to get 1080p24. Again i just skimmed this in case sony were to release a firmware update so I could shoot 24fps.
One more thing I learned. Because my video really is progressive, I can use all FX. They'll always look perfect.
But, if you shoot 1080i50 -- which imovie sees as 1080p25 -- the good news is that imovie will never deinterlace the clips causing a loss of resolution. But, the clips realy are interlace. this means that sometimes you may see combing during the FX. There are very clear pix of what this looks like in the ebook. But, the solution is so simple -- only shoot 1080p25!
Most of us want to shoot progresssive anyway!
The nice thing is i followed the instrictions on burning 1080 avchd video to DVDs and they play in HD on my BD player. And, i didn't have to buy a BD burner.

How to export a 25p footage to 50i Blu Ray?

Hi, I have a 1920x1080 25fps progressive footage which I need to export as a 50i Blu Ray. should I just export it with the preset HD 1080i 25 from encoder? or do I need to interpret the footage or put the 25p footage into new sequence (with 50i) and then export it with the HD 1080i 25 preset?

I would leave the sequence as 25p and convert to 25i upper field first on export.

Converting Pal 25p to NTSC 30p?

On location. Got stuck with a two camera shoot. Principal camera is an EX3 at 24 or 30p. Second camera turns out to have just arrived from Australia, a new Sony HDR-PJ760. Nice little job. But it only does 25p, or 50i I think.
These are presentations: One camera on the speaker (EX3). The other on a large screen projecting Powerpoints (HDR-PJ760). There is no time to find another camera.
How tricky is it to convert the 25p to 30p? Or would it be better to shoot the EX3 at 24p?
I want to be able to edit the two cameras as a multicam setup in FCP.
Any suggestions would be most helpful. We have three days of presentations to start tomorrow morning.
Mmmm... wondering vaguely if one can change a PAL made camera to NTSC with a firmware change? Just on the off chance...
Where is Grahan Nattress when you need him!
Ben

Shoot the speaker at 24p, an the presentation at 25p. You can then bring the 25p material (after converting to prores) into cinematools and conform to 24p. This will be slightly slower, but there will be no loss in quality as your'e just changing the meta data (quicktime sees it as 23.98 fps) and you should be able to make slight edits to bring it back to synch when necessary. if that's not clear, post back and I"ll try and explain in greater detail. I've shot a number of projects with the panasonic hmc150 at 24p and done a conform to 25p to send to England without any issues.

HVX 720 25p support - NAB is over

I am a European HVX200 user. When can I cut finally my 720 25p material? Before 3 years I am switched too mac, must I now really switch back to the PC?
http://www.ag-hvx200.de

I know you are in Europe and all, but is there any reason you cannot shot 720p24 24PN? That is the frame rate of film, and this way you can get started and edit.
Or you can shoot 720p24 at 59.94 and convert to PAL later when there is support. I have seen some shows transferred from here to the UK and from the UK to here and they all look good.
I know it is a workaround, but at least you can get started. Apple is tight lipped about release dates for anything.
Dunno about raylight. Other than 720p25 what else does it offer?
Shane

How to play 100fps at normal speed?

Hi folks
I have material which the DOP says is shot at 100 fps. (Shot on Sony fs700). I want to play that at normal speed in my 1080 25p FCPX Project. By normal speed I mean real time.
What bugs me is that in the clip info in FCPX the material shows as 1080 25p material. I've tried speeding up the material to 400 %, but it doesn't look right. Too fast. Is there any other way other than to mess around with speed %?
Hope you can help.
All the best
Lasse

Karsten, you seem to have struck a chord. It seems there's a difference between what the DOP says and what the iMediaHUD says (clever tool, cheers for that). See report below.
Karsten wrote:
And one thing irritates me:
If I read the cams manual correctly, it records in AVCHD - so, how did you convert it to mov?
When I import it, FCPX doesn't let me 'leave files in place" - I'm able to tick the box, but FCPX stil copy it. And when I click to reveal the material in finder the "original material" is now .mov.
For the report I dragged the real original material. I took an .mts file from the AVCHD bundle and this is what the report wrote:
General
ID                                : 0 (0x0)
Complete name                    : /Volumes/Ring til Ramasjang - klippedisk/RaÌoptagelser/Optagelser_121214_nÃ¦re/private/AVCHD/BDMV/STREAM/000 38.MTS
Format                            : BDAV
Format/Info                        : Blu-ray Video
File size                            : 123 MiB
Duration                            : 46s 265ms
Overall bit rate mode                : Variable
Overall bit rate                    : 22.2 Mbps
Maximum Overall bit rate            : 24.0 Mbps
Video
ID                                : 4113 (0x1011)
Menu ID                            : 1 (0x1)
Format                            : AVC
Format/Info                        : Advanced Video Codec
Format profile                        : [email protected]
Format settings, CABAC                : Yes
Format settings, ReFrames            : 2 frames
Codec ID                            : 27
Duration                            : 46s 280ms
Bit rate mode                        : Variable
Bit rate                            : 21.1 Mbps
Maximum bit rate                    : 22.0 Mbps
Width                            : 1 920 pixels
Height                            : 1 080 pixels
Display aspect ratio                : 16:9
Frame rate                        : 25.000 fps
Color space                        : YUV
Chroma subsampling                : 4:2:0
Bit depth                            : 8 bits
Scan type                            : Progressive
Bits/(Pixel*Frame)                    : 0.406
Stream size                        : 116 MiB (95%)
Audio
ID                                : 4352 (0x1100)
Menu ID                            : 1 (0x1)
Format                            : AC-3
Format/Info                        : Audio Coding 3
Mode extension                    : CM (complete main)
Format settings, Endianness            : Big
Codec ID                            : 129
Duration                            : 46s 304ms
Bit rate mode                        : Constant
Bit rate                            : 256 Kbps
Channel(s)                        : 2 channels
Channel positions                    : Front: L R
Sampling rate                        : 48.0 KHz
Bit depth                            : 16 bits
Compression mode                : Lossy
Stream size                        : 1.41 MiB (1%)
Text
ID                                : 4608 (0x1200)
Menu ID                            : 1 (0x1)
Format                            : PGS

Audio sync problems. Need some advice!

I have a project with 25p files from a D7 camera. The external recorded audio is synced with PluralEyes, with the audio/videosettings in FCP set to 24p. So I have 25p video and 24p audio. The audio is drifting and I have green lines on the audio showing that there is a problem.
Is there an easy way to fix this? Can I convert the audiofiles in some way, and reconnect in the timeline?

Have you tried using cinematools to conform the 25p material to 24p. Be sure and duplicate your files before testing.

Help with upconverting PAL SD to HD DVCPRO 720p24

Can anybody give me some guidance on this topic? I have 720x576 25ps material I want to include in an HD DVCPRO 720p24 project - got about 50 mins material to convert, hopefully in Compressor. I've tried, and am getting disappointing results. I want to crop top and bottom off all the material as I upconvert to get to the aspect ratio.

Sounds like your Mac would benefit from a Compressor reinstall.
Reinstalling Compressor is pretty fast and easy when using Pacifist, like described here: http://www.scottsimmons.tv/blog/2008/01/11/compressor-hatred-resolved/
In Pacifist, remember to check Don't ask again for this installation before hitting Replace.
Much easier and faster than doing it the Apple way.
Also remember to update Compressor once reinstalled

Premerie Elements 11 and NEX 6 Video: Bad aliasing with imported footage

Hi,
with all my Sony NEX 6 AVCHD settings iam unsuccessfull to get good quality video in Premiere Elements 11. Only exception is 1080 50p, that is working with good quality but seams to be an overkill as it eats up SD space and is exhausting the MAC. Interlaced modes are yielding bad aliasing and the 25p mode is missing in the PAL AVCHD section. The Nex can take full hd 1080 25p but in Adobe settings in the AVCHD section there is no 25p at full hd. That does exist in the DSLR section though, but also this gives aliasing (?).
Iam also puzzled about the setting that reads 1080 25i in APE11 (PAL) and 1080 50i in the Sony NEX. I just assume both are just the same (Sony does count every half frame and Adobe every full frame made of two halfs).
Iam using an iMAC with AMD Radeon HD 6770M
Anybody is using films from Sony NEX6 in APE11 or has a way out?
Thnks
Hardi

Steve,
thanks for your reply. Iam preparing for a Safari trip next month. Iam undecided in whtat format to output the video, DVD or MPEG most likely and best quality for watching on the Mac. For now Iam just importing mini clips to see how it works and what the quality is. This is to decide in what format, resulution and frame rate I should take the safari video. Iam particular checking for "jumps" in fast movements, i.e. how smooth the video looks and those "steps" in straight lines that I call (perhaps falsly) aliasing. For this I check the Premiere preview of the imported clips. Perhaps its my bad English, so I try to give my workflow:
1) I do short films (20s) with my NEX6 in those 3 settings 1920x1080 PAL, 50p, 50i and 24p. I make sure there is lot of movement and sharp lines do show up. I do one clip at a time.
2) I take out the SD card (64GB 45Mbits/s) after each individual setting and put it into the iMacs SD slot. Also tried to hook up the NEX via USB cable but no difference noticed.
3) I open finder and go to the private folder of the SD card. In each try there is just one AVCHD clip in.
4) In Organizer I choose import from files and folders and click on that private folder. None of the formats will be imported, always a note shows up that its either wrong format or already existing file (I made sure this is not).
5) In Premiere I can import the privat folder via drag and drop directly from the SD in a new project. This way I let premiere decide what project settings to choose. All formats give a warning (codex not available or something, warning is different from the Organizer one) but it does the import anyway in each case. Imported film does look "aliased" with 50i and 25p footage. Project settings for the two read 1080 25i. The imported film does look good with 50p, correct project setting in this case: 1080 50p.
6) In Premiere I can also import via "add media, AVCHD camera". Again I do this in new projects for each of the clips. Also here Premiere decides what setting the clip gets. Import does not produce warnings with either clip format. Nevertheless, imported film does look "aliased" with 50i and also 25p clip. Settings in both cases again are 1080 25i (thus Premiere thinks the 25p clips is a 25i). Also here the clip does look very good with 50p and the project setting is for 50p.
Hope this describes it somewhat better.
brgds
Hardi

What to do with one 25i and one 25p file in same Timeline???

Hey!
I was bothering you with questions of how do I put 30p and 25i footage together, but things have changed. [i]HUNTREX and ANN BENS, thanx a bunch for your help)[/i]
Canon released new Firmware for its 5D MkII camera, so I can shoot 25p and 24p... But now the problem is still there!
Now I have Interlaced and Progressive footage to put together!!!!
I also decided to get Cineform NEOSCENE which converts both MPEG-2 from my Sony FX-1 HDV camcorder and AVCHD (H.264) from Canon 5D into CINEFORM-AVI...
So, to avoid mixing formats in codec part - I ended up with those AVIs!
So for the first time yesterday I imported AVI-s made by NEOSCENE from both my FX-1 25fps (1080i) Sony camcorder and my 5D MkII 25fps progressive (1080p) into my PREMIERE PRO..
Little difference in Contrast (Canon is better!!!) - but now I am left with NEW PROBLEM!!!
I have, ergo, one Cineform-AVI, which is INTERLACED, and the other Cineform-AVI which is PROGRESSIVE (both 25 fps)...
]Which Preset to choose in PPRO?
I tried with Sony's XDCAM EX 1080 25i preset - but then the Progressive material seems to have lot of flickering... Not to mention that both have YELLOW LINE above in Timeline - meaning it is not the Preset for those files, but it seems to be my best choice (regarding resolution and FPS)!
]Now, HOW TO HANDLE THOSE TWO FILES ON TIMELINE - One 25i, the other 25p?
Do I deinterlace the 25i or do something else with 25p? How? Any Tricks?
What would you do?
And what preset would you use????
Hope you'll be able to help me with this one!:)
V.

Hello again!
If it were me, I would deinterlace the 25i footage and keep the project progressive. But it does really depend on what your final output requires.
Little difference in Contrast (Canon is better!!!)
Try using Premiere's color correction tools (fast color corrector, curves, etc.) for that.
I tried with Sony's XDCAM EX 1080 25i preset - but then
the Progressive material seems to have lot of flickering.
Did you try interlacing the footage (Right click on clip, select "field options", and check "interlace consecutive frames")?
Huntrex

Why is AVCHD 25p clips imported in as 25i ?

Hi there,
On the video recorder, I set my video settings to 1920 x 1080 25p.
When I ingest in FCPX, I selected "create optimized media".
Then in the browser, when i select the clip & goto the info tab, it says my clip is 1920 x 1080 25i.
But in the codec, it says AVCHDi50
Is there a bug in FCPX 10.1 ?
Thanks

Thanks Ian,
But I think it is more of the FCPX problem rather the camera itself ?
Anyone can help ?
Thanks
Ian R. Brown wrote:
Perhaps I should have said, "most consumer AVCHD is interlaced".
Your GH3 is a high end still camera and the Sony is a pro/semi pro camcorder.
I know nothing about either.

Captured video-material appears far too dark

hi there!
I have a great problem (being under time-pressure with a project): video-material, taken with a canon HV30, that looks all right on the camera-screen, appears FAR TOO DARK (not usable), after beeing captured. the problem does not seem to be a premiere-problem (I have CS3), since windows movie maker produces the same fault. it is neither a pc-screen-calibration or -regulation-problem, since the same material played onto the same screen by another pc, that displays everthing else perfectly, is also too dark. the answer must be between the cam-corder and the capturing software? does someone have a clue? (the problem seems to be not only mine if you check via google... and the solution seems not to be at hand...)
I'm working with DV-widescreen(16:9)-PAL-material converting it with 16-bit sound and 48 kHz.
following my relevant systems-data... (everything is updated with the most recent drivers...)
thanks very much indeed in advance!
hilmar
System Information
Time of this report: 11/21/2008, 23:54:29
Machine name: PC02
Operating System: Windows XP Professional (5.1, Build 2600) Service Pack 2 (2600.xpsp_sp2_gdr.080814-1233)
Language: German (Regional Setting: German)
System Manufacturer: MAXDATA
System Model: *
BIOS: Default System BIOS
Processor: Intel(R) Core(TM)2 CPU 4400 @ 2.00GHz (2 CPUs)
Memory: 2048MB RAM
Page File: 766MB used, 3172MB available
Windows Dir: C:\WINDOWS
DirectX Version: DirectX 9.0c (4.09.0000.0904)
DX Setup Parameters: Not found
DxDiag Version: 5.03.2600.2180 32bit Unicode
DxDiag Notes
DirectX Files Tab: No problems found.
Display Tab 1: No problems found.
Sound Tab 1: No problems found.
Music Tab: No problems found.
Input Tab: No problems found.
Network Tab: No problems found.
DirectX Debug Levels
Direct3D: 0/4 (n/a)
DirectDraw: 0/4 (retail)
DirectInput: 0/5 (n/a)
DirectMusic: 0/5 (n/a)
DirectPlay: 0/9 (retail)
DirectSound: 0/5 (retail)
DirectShow: 0/6 (retail)
Display Devices
Card name: NVIDIA GeForce 8600 GTS
Manufacturer: NVIDIA
Chip type: GeForce 8600 GTS
DAC type: Integrated RAMDAC
Device Key: Enum\PCI\VEN_10DE&DEV_0400&SUBSYS_040110B0&REV_A1
Display Memory: 256.0 MB
Current Mode: 1280 x 1024 (32 bit) (60Hz)
Monitor: (Standardmonitor)
Monitor Max Res:
Driver Name: nv4_disp.dll
Driver Version: 6.14.0011.7824 (English)
DDI Version: 9 (or higher)
Driver Attributes: Final Retail
Driver Date/Size: 10/7/2008 13:33:00, 6058112 bytes
WHQL Logo'd: Yes
WHQL Date Stamp: n/a
VDD: Nicht zutreffend
Mini VDD: nv4_mini.sys
Mini VDD Date: 10/7/2008 13:33:00, 6133856 bytes
Device Identifier: {D7B71E3E-4740-11CF-906D-0A2400C2CB35}
Vendor ID: 0x10DE
Device ID: 0x0400
SubSys ID: 0x040110B0
Revision ID: 0x00A1
Revision ID: 0x00A1
Video Accel: ModeMPEG2_C ModeMPEG2_D ModeWMV9_B ModeWMV9_A
Deinterlace Caps: {6CB69578-7617-4637-91E5-1C02DB810285}: Format(In/Out)=(YUY2,YUY2) Frames(Prev/Fwd/Back)=(0,0,0) Caps=VideoProcess_YUV2RGB VideoProcess_StretchX VideoProcess_StretchY DeinterlaceTech_PixelAdaptive
{335AA36E-7884-43A4-9C91-7F87FAF3E37E}: Format(In/Out)=(YUY2,YUY2) Frames(Prev/Fwd/Back)=(0,0,0) Caps=VideoProcess_YUV2RGB VideoProcess_StretchX VideoProcess_StretchY DeinterlaceTech_BOBVerticalStretch
{6CB69578-7617-4637-91E5-1C02DB810285}: Format(In/Out)=(UYVY,YUY2) Frames(Prev/Fwd/Back)=(0,0,0) Caps=VideoProcess_YUV2RGB VideoProcess_StretchX VideoProcess_StretchY DeinterlaceTech_PixelAdaptive
{335AA36E-7884-43A4-9C91-7F87FAF3E37E}: F

thanks,
dear craig,
for your thoughts and tips!
I will do that just for curiosity. but then I would have to know how the waveform-scopes should ideally look like? where can I find model-scopes? (and, what's more, the camera "gave up its spirit", as we say in german: can't be switched on any more - brand new... so I'll have to get it fixed...)
but: it seems to me, that your path-finding leads in the wrong direction... see: the camera records pictures digitally on a tape. from the tape it is able to read the data again out onto a screen - and fine! now: you should be able to reproduce that outside the camera - and not blame it somehow...
others seem to have the same problem with different cameras and different systems-cominations (operating system, graphic cards...). so it can't be just my camera. the problem is not so easy...
the guy here - http://forum.videohelp.com/topic281706.html - seems to aim in the right direction (imho): he touches the point of the colour-spaces used! he says inside the camcorder IRE 0.0 / 16-235 color space is used. right? well: outside the cam on a computer-screen RGB or sRGB is used, right? so some transformation has to happen - or may be, it is not done - with the bad result, we have...
now the chap there speaks about the possibly wrong codecs. a codec however has to do with compression/decompression. but - they say - the capturing via firewire is just the unaltered transmission of data, and .avi (the resulting format) is compression-free! so the problem is not a codec-problem. but how's the software called that changes the color-spaces or should change them???
what astonished me very much is to see that, when I change the screen-settings for color/luminance with my nvidia-graphics-card, then everything on the screen changes exept! the to video-images in the two screens (source, program) in premiere... so premiere seems to use its own screen-controle here!
and why actually can't I choose somewhere which the output-conditions for and after the capturing shall be, e.g. the clip-format (.avi, .mov etc.) and - may be! - the color-space! I can just say "DV 25i PAL max. bit-depth" and, under device(=cam)-controle, brand and type of device (and again PAL). now I can choose "canon" but not "HV30" (not contained in the list) - just "standard" instead. but that raises the question: what colour-space are the various cameras using and sending??
now if I check the supported camera-brands and -types online on the adobe-website (http://www.adobe.com/products/premiere/dvhdwrdb.html) I can't find canon's HV30 (just the semi-pro-models, for which "conditional support" is promised... but problems seem to lay elsewhere).
on the website, where you can check the compatibility of your cam with premiere, adobe boasts its "Preconfigured solutions
Certified Adobe OpenHD configurations (that) help ensure compatibility between hardware and software components." if you click on the linked text some general boasting and buy exhortations about the "creative suite" come up - no precise information...
should this well known and ill suffered compatibility problem not be handled more clearly and competently?
please help me finding the solution, which is: to interprete the recorded data on the tape, that get transferred via capturing, like the camera does!
thanks a lot indeed!
hilmar
ps: it is interesting to check http://en.wikipedia.org/wiki/Color_space, where it says: "YIQ was formerly used in NTSC (North America, Japan and elsewhere) television broadcasts for historical reasons. This system stores a luminance value with two chrominance values, corresponding approximately to the amounts of blue and red in the color. It is similar to the YUV scheme used in most video capture systems[2] and in PAL (Australia, Europe, except France, which uses SECAM) television, except that the YIQ color space is rotated 33° with respect to the YUV color space. ...
" you see: two different color spaces in TV and CAPTURE SYSTEMS! is premiere not a capture system?? and what do the graphics-devices underway between the camera and premiere??

Mixing AVCHD 50p and 25p

Hi everybody !
I just shot an interview with two cameras.
One was a DSLR 60D, and the other an AVCHD Panasonic AF-101. There was also a sound recorder getting the sound directly from microphones.
The thing is the AF-101 was a rented camera and the operator wasn't used to work with it, so it might have been a set-up problem.
Now we need to edit this footage on Premiere Pro, and that's where the problem begins
When i import the AF101 footage into Premiere, he tells me that it is 1080/25p (like it's supposed to be from what we wanted), but in VLC i can see that it is 1080/50p, or more precisely :
"Codec : H264 - MPEG-4AVC (Part 10) (h264)
Planar 4:2:0 YUV
Image Frequency : 50"
When i mix both footage - 60D 1080/25p and the supposely AF101 1080/25p - the footage from the Panasonic is out of sync !
The sound recorder and the 60D mix perfectly together, but the AF101 is definitely a bit in slow-motion, and Premiere keep teeling me that's 25p.
When i try to convert it from 50p to 25p, it doesn't change anything (as Premiere already interpreted the footage in 25p).
I'm reaching my knowledge's limit with this and still the Panasonic footage is the most important for us.
If there a way at least to put the independant sounds recordings into 50p that would be great.
I hope someone can provide some hints to resolve this
Thanks everybody !!
Chris

gnawdatsuaravi wrote:
..... Do you know if FCP X will edit 50p? ...
FCPX does edit 1080/50p, but it doesn't import it.
huh?
I'm using lots of 720/60p, which works like charme - 'cause it within the AVCHD v1 specs.
1080/p or material beyond >24mbps bitrate are in AVCHD v2 specs.
FCPX imports only AVCHD v1. but, when you manually convert 1080/50p/60p into proRes, it works with such material .... common recommendation is CLIPWRAP.
a 'free', less convenient way I'm describing here ...
https://discussions.apple.com/message/17326652#17326652
or, fingers crossed, Apple updates its apps to the new standard v2 ...
AppleMan1958 wrote:
… In general, interlaced is better for action sequences like sports, and progressive is better for everything else. …
usually, I 101% share AM's advices ... in this case, I would phrase a lil' different:
interlaced is easier for action-packed motifs.
but you lose detail ...
illustrated thoughts on my site:
https://sites.google.com/site/karstenschluter/i-or-p-this-is-the-question

25P to DVD issues!!

When exporting my 25P show to DVD I don't get a very clean image. It problably gets lost in translation when going from 25P to 25i PAL. What can I do to make the DVD look good?

Are you talking about converting 1080p/25 -> 576p/25?
YES, except that I don't convert personally insofer as I export directly to DVD PAL in premiere (I assume premiere does the conversion then).
Also, please post a frame grab or two of your output (1080p + 576i) so I can see the type of problem you are having.
It's not the single frame but the fact I get a weird strobbing effect beyond what I get when viewing the footage progressively.

What framerate to choose for: PAL@25p 1440x1080 for Blu-Ray?

Hi there,
I just found some topics that there is no 25p possible for the (PAL) Blu-Ray standart. But I shot my film native in 25p PAL. Now I wanna make a progessive Blu-Ray for PAL Filmfests (like a progressive DVD). So what frame presets would I choose that encore offers me?:
25i (but I don't want the video look since we spend enough time and money on lighting shooting my short;-).
50p (I have no idea what that would make the film look like, probably "fluid" motion like 25i?)
Or should I just use an NTSC preset with 24p (which is closer to 25p than 30p or 50p), since most PAL Blu-Ray players and PAL TV Sets can playback NTSC?
Thanks in advance,
Martin

JSS1138 wrote:
anything interlaced not High Definition by definition
That confuses me. 1920 x 1080 has 30i as a defined standard for ATSC, and 25i for PAL. This applies to both broadcast and Blu-ray specifications.
Hi Jim.
The point I am trying to make is that anything interlaced should just not be called High Definition, simnply because no matter how many pixels there are, it just is not high definition - it's interlaced. You know as well as I do there is far more than pixel count to definition!!!
Martin HJA wrote: So like I said, the 24p thing is the frame rate to go (at least for progressive 25p PAL footage). But the question is, when I start a new Encore CS5 projekt, I have to choose if NTSC or PAL. 24p is only availible in NTSC so I guess I have to just use that projece setting right? (for a PAL 24p version) Or do do I choose PAL and then just a transcode setting that has 24p in it afterwards befor transcoding (custom setting?). In this case, WHAT FRAMERATE do I choose when creating a PAL project (since you have to choose 50p or 25i)? Or does choosing the project setting in the beginning doesn't matter since one can choose different transcode setting afterwards (custom ones)?
Hi Martin.
You have no choice but to select NTSC, even though it is meaningless at 1920x1080/24p resolution, as the only way to do it in 25fps is interlaced, which is written as 50i or 25i depending on what side of the Atlantic you are on. They both mean the same thing, really.
Selecting PAL will only give you access to a frame rate of 25 or 50 which is insanity really. Frankly, Blu-Ray is a bit of a mess all round.

25p material recorgnised as 25i

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