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Thread: Interlacing

  1. Default Interlacing

    Hi.

    Can anyone tell me some summary about interlacing? I've read alot about people talking about it but can anyone explain me a bit short but effective?

    Btw does my video camera shoot interlaced?
    Panasonic NV-GS180

  2. #2
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    Your camera shoots in interlaced.

    History

    Early television screens relied on a scanning electron beam hitting a layer of 'phosphur' on the screen to create light. The beam scanned the scree and the phosphur glowed, but it didnt glow for long enough.

    With the electron bean scanning top to bottom of the screen every 25th of a second the phosphur at the top stopped giving off light to soon.

    The fix was interlacing.

    Instead of scanning line 1 to 625 one after the other the beam scans even then odd lines. First 50th the even lines, second 50th odd lines.

    This also means that motion is presented with much less jerkiness - incidentally this why i dont like 25p - rubbish for anythng moving.

    To keep best picture quality stay in interlace all the time. For webcasting render a progressive version (monitors are progressive).

    If you use slomo / speed up or track motion you may need to dinterlaceaffected clips to avoid weird effects as the fields are disrupted.

  3. #3

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    Markw is correct,25p is rubbish,however,50p is smooooth,but for all round play on anything quality,i've found (after lots of experimenting,burning dvd's,playing on different tv's) interlaced is best.
    Paul.

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    Default

    Yes - 50p is the future for sure.

  5. Default

    Sorry for being so newbie, but is my camera filming 50 or does that got something to do whatever I render?

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    This can get confusing.

    Your panasonic shoots in PAL interlaced - this is commonly referred to as 50i

    50p has the advantages of 50i (better for anything moving and pans) and 25p (no field tearing).

  7. #7

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    Quote Originally Posted by Gunner7 View Post
    Sorry for being so newbie, but is my camera filming 50 or does that got something to do whatever I render?
    In the work you/I/we do, we do 2 processes:

    1] We capture in camera using the settings OF that camera.

    2] We render in software using the settings OF that project/render template

    And for the purposes of this discussion - Interlace<>Progressive - these 2 processes are NOT physically linked - period!

    One is for onsite/studio/air balloon/on horse-back/on-motorcycle/on rollerskates . .. whatever . . . And the other process attempts to USE this footage to the best it can. And THEN we render.

    Now, we can make profound directorial decisions to do with content at the point of capture ie: movement needing to be slowmo-ed; optical filters; DoF (depth of field), lighting the set; focus AND more crucially here - about interlace and so on - about HOW many frames and HOW they are collected - Either Progressive ( progressively collect One complete frame after the other) OR Interlaced (each frame separated into 2 fields and these collected as an interlace format). This is a crucial decision to make. And yes, some cameras have the ability to chose between Interlace and Progressive.

    However WHAT we do in camera sometimes CAN be changed in software( that is "post"). And maybe go from Interlace TO Progressive.

    And guess what? Vegas, IMO, is the KING/QUEEN of multi format rendering/editing. In the trade Vegas is well known as being "Format Agnostic" - meaning, it don't really care WHAT you throw at it - it will deal with it and WITHOUT the need for interim rendering to a useful format.

    So, what we capture in - me: PAL 50 Interlaced - goes straight into a Vegas project that I've set up to accept PAL 50i - and off I go. Now, there is nothing, NOTHING to stop me mixing this up with some American NTSC; a dab of MPEG; a smidgen of JPEG or a dash of Microsoft WMV. . . or whatever . . as long AS my project settings are set to the PAL format then that is what the final project output WILL be. However, and at the point of render I can be completely dorkish & obdurate and then decide to render to a NON-project format. Meaning, it was PAL 50i and now I want to produce an NTSC. So ALL my formats get smashed into NTSC. Now I don't do this - but I could. VEGAS allows for this. Personally, my "simple" workflow is to deliver to an PAL DV-AVI and make a final render-out/decision FROM that AVI.

    And yes, this CAN be confusing - I hope I haven't added to more of your confusion - It most certainly was NOT my intention.

    Grazie

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    LOL - vegas is agnostic.
    Just like me -hmmm, on reflection maybe I'm not - more of a vegas zealot!

  9. #9

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    LOL!! - Can one be an "agnostic zealot"? "I hold a strong conviction in a non-belief structure!"

    Grazie

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