Jump to content


Photo

S16 Telecined to ProRes1080 interlaced by misstake


  • Please log in to reply
3 replies to this topic

#1 Ovid Stokk

Ovid Stokk

    New

  • Basic Members
  • Pip
  • 2 posts
  • Cinematographer

Posted 27 October 2009 - 08:32 PM

I had some s16 material scanned to ProRes.
But by misstake the colorist used 1080i instead of 1080p.
I discovered this after finished editing. The digital special effects are very precisely adapted to the scanned film.

So I am left with two options;

Eighter rescan the film to 1080p. This is quite painful as the film does not have a frameline guide on its first exposed frames,
so I bet it will be impossible to get an accurate enough framing in telecine to avoid doing the effects over again.

Or I can deinterlace the files.
Now, I do not know enough about interlaced vs progressive.
Will deinterlaced 1080i have the exact same result as an actual 1080p from the telecine?
How would be the best way of getting these files progressive when I have FCP Studio?
Putting the 1080i files inside an 1080p project in FCP and simply put a deinterlace filter on it?



In addition to this, I had some problems with Prores HQ.
It produces some digital noise in the deep shadows.
So does anyone have a suggestion to another format?
I can not afford doing a DPX scan.

How would Uncompresses or 8 bit TIFFs do on shadow noise?

All suggestions very much apprettiated.

Thanks!
  • 0

#2 Robert Houllahan

Robert Houllahan
  • Sustaining Members
  • 1583 posts
  • Industry Rep
  • Providence R.I.

Posted 28 October 2009 - 10:43 AM

Was it scanned to 1080i with a 3:2 pulldown? i.e. are there blended frames? if so you would have to do a pulldown removal. This would happen if the telecine is run at 23.98fps and the recording is 1080i 59.94. You would have to do pulldown removal in After Effects or Shake etc. Apple Cinema tools only does pulldown removal to SD.

If the telecine was run at 29.97fps to transfer to 1080i at 59.94 then all you have to do is go into cinema tools and load the clip and do a conform to 23.98. After conform the clip will basically be 23.98Psf because the film frame is always acanned progressively by the telecine and then that progressive frame is sampled onto both interlaced fields. This is basically how Hdcam and others work i.e. the Psf concept.

You can then reload the clip into FCP and export it at 23.98P in a number of formats like Pro-ResHQ or 10Bit etc.

-Rob-
  • 0

#3 John Sprung

John Sprung
  • Sustaining Members
  • 4635 posts
  • Other

Posted 29 October 2009 - 12:58 AM

The one other difference is that it will have been filtered to the Nyquist limit for interlace, so it'll only be about 65% as sharp as a native progressive transfer. Depending on content, that may or may not be important.





-- J.S.
  • 0

#4 Ovid Stokk

Ovid Stokk

    New

  • Basic Members
  • Pip
  • 2 posts
  • Cinematographer

Posted 29 October 2009 - 07:20 AM

I forgot to mention, it is PAL so 25fps.

I will be doing a rescan in progressive tomorrow.
I mentioned that there was some noise in the deep shadows when using Prores.
Do you have any suggestions to other formats that would do better?
is TIFF fine compared to Prores?

Thank you!
  • 0


CineLab

Tai Audio

Glidecam

Gamma Ray Digital Inc

Abel Cine

CineTape

Willys Widgets

Broadcast Solutions Inc

Wooden Camera

Media Blackout - Custom Cables and AKS

rebotnix Technologies

Ritter Battery

Visual Products

Aerial Filmworks

Paralinx LLC

FJS International, LLC

Rig Wheels Passport

Technodolly

Opal

Metropolis Post

The Slider

The Slider

Metropolis Post

Rig Wheels Passport

Broadcast Solutions Inc

CineLab

Glidecam

rebotnix Technologies

Ritter Battery

Willys Widgets

Paralinx LLC

Abel Cine

FJS International, LLC

Wooden Camera

Media Blackout - Custom Cables and AKS

Technodolly

CineTape

Tai Audio

Aerial Filmworks

Opal

Gamma Ray Digital Inc

Visual Products