Editing 480i and 1080i together

F

firehawk

Veteran
Using premiere cs5,
If I'm working on a project that is SD 480i but also mixing some 1080i footage with it (reframed or resized)
To be output for DVD ..
SD 480i DV is lower field first
Is 1080i also lower field first or will I have interlacing/ flickering problems?

How well will dv avi footage edit with AVCHD and AVC-intra? -
The codecs themselves, I realize the camera footage will look differently and require post work to match.
 
I suppose I should mention the scenario why I would be needing to do that:
Shooting an event; dance, wedding, etc , with many cameras.

They can (almost) all do 30p and 24p but for dances i dont want 24p.

2x Dvc60: can do 480 60i

1x Dvx100b: can do 24p and 480 60i. Don't want 24p for fast motion so that means using 60i:

2 x hmc150: can do 1080 60i and 720 60p.
I'm guessing it would be better to mix interlaced with interlaced, rather than 480i with 720p.

1 x hpx250 : can do DV 480i , 1080 60i and 720 60p.
 
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Your better off using three identical cameras (or at the very least, three cameras capable of shooting in the exact same mode). Meaning leave the DV out of it.

DV is LFF, all HD source footage is UFF. That will cause issues.
 
Agreed, identical cams would be optimum but under many circumstances not possible (I occasionally get crowd shot video to cut into/with my 1080 stuff).
I can't remember how it was with CS5 but with 5.5 and 6.0 I'm pretty sure all you'd need to do is make it all work in your timeline (which is painless) then choose your flavor when you export . . . Adobe Media Encoder will figure it out for you.

BTW, you may be a little optimistic if you are expecting to "match" cuts from different cameras but viewers will generally accept that. Pretty much all NTSC cams are going to shoot 30fps . . . If you can, go with that. There is no reason not to mix formats on your timeline . . . That's pretty much what most NLE software manufacturers have addressed over the past few cycles.

Good luck!
 
Adobe Media Encoder will figure it out for you.
Click to expand...

Uh, not quite. AME will export at the settings you specify. So if you have LFF media in a UFF export, the field order will be reversed and things will not look good.
 
I edit a lot of projects where media comes in at all different sizes, frame rates, some interlaced, some not. It's the nature of the industry and the job of being an editor.

Having said that I see no reason to edit with an interlaced signal because with upper field dominant vs lower field dominant, with different sizes and different frame rates its a recipe for disaster and jaggies. So ...

I de-interlace source material prior to editing.
I edit progressive.
I export progressive.
I keep a progressive master of the final sign off edit.
I convert the master to interlaced where needed if that is part of the specs of the deliverable format.
 
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