Vitaliy,
I've been digging deeper into the code and I'm trying to figure out how to target my analysis. I've developed a theory I wanted to pass by you.
When the codec packages stream data for final assembly into the interlaced frames for progressive footage I assume that there are various intermediate buffers that are used. When taking a native 1080p frame the codec is going to chop it up into half-frame components and then reassemble into a 60i (or 50i) frame. I'm thinking that somewhere in this process a buffer is allocated assuming either a 720p frame (for 720p footage) of half a 1080p frame - both of which are smaller than a full 1080p frame. Either that, or there is code that attempts to choke the output to one of these levels. Obviously, somewhere along the line the correct encoding for a full 1080p frame has to exist, otherwise the camera wouldn't be able to produce the interlaced version either.
Does this approach make sense to you?
Chris
I've been digging deeper into the code and I'm trying to figure out how to target my analysis. I've developed a theory I wanted to pass by you.
When the codec packages stream data for final assembly into the interlaced frames for progressive footage I assume that there are various intermediate buffers that are used. When taking a native 1080p frame the codec is going to chop it up into half-frame components and then reassemble into a 60i (or 50i) frame. I'm thinking that somewhere in this process a buffer is allocated assuming either a 720p frame (for 720p footage) of half a 1080p frame - both of which are smaller than a full 1080p frame. Either that, or there is code that attempts to choke the output to one of these levels. Obviously, somewhere along the line the correct encoding for a full 1080p frame has to exist, otherwise the camera wouldn't be able to produce the interlaced version either.
Does this approach make sense to you?
Chris