Deinterlace or Interlace?

Ursa

Ursa

Active member
Hi!

I know this has been discussed before, but I could not find exactly what I was looking for, so I started a dedicated thread on this. My situation is:

I have accidentally recorded a concert video in 25P on my HVX200 and 50i on the other camera. Big big big trouble and anguish. I am madly infuriated. Now you know that. :zombie_smiley:

So my questions are:

1. Is it most ideal to deinterlace the 50i or interlace the 25p?

2. What program works best for doing so?

3. I've searched and searched the net, only finding hopeless guides to deinterlacing pirate videos, not real DV stuff. Also annoying: all guides seem to be from 2002 or so, surely software has developed since then. People are talking about Virtualdub and AVIsynth, but I don't see these incorporated into my workstream, or am I wrong?

4. Is the Premiere Pro deinterlacer good enough? Is the After Effects deinterlacer any better? Is any of these programs good enough.

5. Can anyone find a real test of real deinterlace/intelacing software that is objective, nice, new and good?

Thank you SO much for your patience and understanding. This is a dark day, and I will wait till this whole painful production is gone until I post anything more :)
 
I had a similar situation recently (rectified it soon enough on the shoot, but an hour was wrong).
Because the HVX interlacing isn't 'true' interlacing as I understand it (it's a progressive frame split into 2 fields, so the same moment of time, rather than recording 2 fields as per an interlaced camera (each half a frame out), I was able to use the standard de-interlace filter in FCP and it spat me out a re-combined, ie progressive frame, with no artifacts.

This is why you were able to use 1080 25P footage in a 1080 50i timeline in FCP before 1080 25P was officially supported, just by turning the field dominence to none.
 
thanks a lot for the reply. Though of course this simple and genious solution won't work since the other camera is a pd100 (no laughs please :)) that means the HVX was 576P25 and the PD100 was 576I50. This makes the situation a little bit more awkward yeah. But I made some tests with using the "interlace consecutive frames" on the 25P in Premiere Pro 2.0, and it might look like a solution... What do you think? It looks kinda like semi-progressive... And I'm so blind now that it seems fine by me... i need to look at it together with someone... Hmmm where to find a guinea pig when you need one :)
 
I'd use Shake and run the 'adaptive' de-interlacing in the FileIn.
This does the best de-interlace I've seen. I use it all the time whenever I get HDV footage to do post on.
 
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You can't turn 25p into a simulated 50i (because you only have 25 motion samples), but you can turn 50i into a simulated 25p. So that'd be the best way to go.
 
Of course 50i to 25P, extracting one field from each frame and duplicating it or with a tool that analyses the motion and remove field when necessary.

Ulisses
 
Ursa said:
Hi!

So my questions are:

1. Is it most ideal to deinterlace the 50i or interlace the 25p?

2. What program works best for doing so?

3. I've searched and searched the net, only finding hopeless guides to deinterlacing pirate videos, not real DV stuff. Also annoying: all guides seem to be from 2002 or so, surely software has developed since then. People are talking about Virtualdub and AVIsynth, but I don't see these incorporated into my workstream, or am I wrong?

4. Is the Premiere Pro deinterlacer good enough? Is the After Effects deinterlacer any better? Is any of these programs good enough.

5. Can anyone find a real test of real deinterlace/intelacing software that is objective, nice, new and good?
Click to expand...

DVFilm Maker is one intelligent deinterlacer that can do 50i to 25P HD and you can do a quick comparison between deinterlacers by using the "road test" sample video found here

http://dvfilm.com/maker/MakerVegas.htm

It's 60i DV not 50i HD but try it with various programs converting 60i to 30P and choose the one that gets the best sharpness and smoothest motion.
 
You're shooting SD so one way or another it's all going to end up 50i right? You're not going to do your footy any favors by deinterlacing it and reinterlacing it. Your NLE doesn't know the difference between 50i and 25p unless you tell it. I'd just import everything into 50i timeline and call it a day. The cameras look different, there was no way to avoid that no matter how you shot. Good Luck.
 
Except going from non-interlaced / progressive to interlaced for final output doesn't result in any quality loss or change in the way the video looks.

I'd say use a smart deinterlacer to get the cameras to match up better, and go from there -- if the scene files were the same and the only thing that was different is the recording format, then people will be hard pressed to tell the footage apart.
 
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