How do I transcode to Interlaced?

[Rich Schaefer]

I have a client who wants my footage transcoded to 1080 interlaced. They run on a Media100. I am running RCX 351 and the newest FCP. I cannot seem to output ProRes files interlaced? I have tried everything I can find in the RCX export menus.

Any thoughts? Can it be done?

Thanks much,
Rich

 

[paulherrin]

they probably want 1080, 60i... ProRes may or may not handle that...

have you tried plopping it (the r3d) into a 60i timeline in final cut? (using a pulldown scheme if necessary)

http://magazine.creativecow.net/article/interlacing-progressive-footage

 

[joe hedge]

I have a client who wants my footage transcoded to 1080 interlaced. They run on a Media100. I am running RCX 351 and the newest FCP. I cannot seem to output ProRes files interlaced? I have tried everything I can find in the RCX export menus.

Any thoughts? Can it be done?

Thanks much,
Rich

Yes, tell him he needs to do it on final output to the tape deck with a Kona card

 

[Rich Schaefer]

Good thoughts guys but is there any way to get RCX to transcode to interlaced (yes 60i)?

 

[paulherrin]

have you tried going to preferences and changing import settings to 60fps? not sure if that will do the trick or not.

 

[Rich Schaefer]

have you tried going to preferences and changing import settings to 60fps? not sure if that will do the trick or not.

I have tried it in the export settings of RCX with no luck. Dose RCX have import settings?

 

[paulherrin]

yes, click on redcine-x>preferences>import

hope that works man! if not, you'll probably have to do it through fcp or at least outside of rcx. (see the previously linked article)

night!

 

[Rich Schaefer]

I will defiantly check that out! Thanks Much!

Rich

 

[Rich Schaefer]

yes, click on redcine-x>preferences>import

hope that works man! if not, you'll probably have to do it through fcp or at least outside of rcx. (see the previously linked article)

night!

Great idea, but Nope it did not work. Thank You!

Any other suggestions?

 

[paulherrin]

ah sorry man, i'm all out as far as RCX goes... if it's possible i'm not sure how in there.

is it really that bad to do it out of fcp? you could always output 1080 dpxs with your look and do it from there. or does final cut do like the adobe software where you can load a look?

 

[Rainer Fritz]

when you create a ProRes export setting in RCX in the quicktime setup you can check the interlaced box. But it depends what your source was if you get then a real interlaced signal. if you shoot with 25p for example it is not possible to get then a real 50i signal. you need to shoot 50p to make a real 50i signal of it.
In most cases people double a 25p clip to 50p (double of pictures) and interpolating that. But the result will look still like a progressive signal...

 

[Uli Plank]

Well, what Rainer wrote applies if you want the temporal resolution of 50 (or 60) frames. But in the 60 Hz world it's not unusual to convert from 24 fps by 2:3 pulldown. I doubt RCX can do that, but any good video I/O card can, so why not do it in the very end?

 

[Jeff Coatney]

I will be happy when interlaced video finally dies. Long overdue, IMO.

 

[Uli Plank]

Amen, brother!

 

[Rich Schaefer]

Thanks Fellas!

My client can do it in the end but wanted me to deliver 1080i if possible. I guess most of the stations are wanting 1080i for delivery of commercials. (I do mostly commercials)

 

[Graeme Nattress]

Say you shot 24p on RED. Film, and 24p digital movies are broadcast or carried over 1080i via 3:2 pulldown. I wrote this back in the standard def days: http://www.kenstone.net/fcp_homepage/24p_in_FCP_nattress.html but for the most part still applies to HD. BTW, field order of HD is always "upper".

Now, to get 24p to be 60i with added 3:2 pulldown you can:
1) play out to tape from FCP via a kona card, and the card will add 3:2 pulldown.
2) compressor might add 3:2 if you can figure the settings.
3) After Effects can be used to output a movie with 3:2 pulldown.


If you just put a 24p movie on a 29.97fps interlaced (as in 60i) timeline in FCP, FCP will just add frames to pad out. You don't get proper 3:2 pulldown!

As part of my standards conversion plugins at nattress.com I sell a plugin that will allow you to do a proper addition of 3:2 pulldown in FCP (G Film Converter) but it can be tricky to use because FCP just doesn't really want to allow these kinds of conversions.

When editing 24p, it's best to keep it natively progressive throughout production, and only add 3:2 pulldown when going out to your tape for broadcast, usually via method 1 above. That way you're dealing with less fps while editing for better performance, it makes adding VFX easier, and you get a constant cadence on the pulldown which makes TV's happy because they must remove the pulldown to display the image properly as most displays today are natively progressive.

Graeme

 

[Rich Schaefer]

Hi Grahme,

Thank you for the response. Luckily we shot 4kHD at 29.97 and I would like to deliver 59.94i.

I assume RCX won't do it?



Thanks much!
Rich

 

[Graeme Nattress]

If you shot 29.97fps then just output it. There's no conversion needed. You're just doing psf at that point, which means progressive movie, but in an interlaced capable container.

Graeme