Progressive: The original footage/material could e.g.However I took the view that HDV’s non-standard pixel shape (aspect ratio) was “tempting fate” when it came to reliability and possibly even quality in subsequent (downstream in the workflow) stages of scaling (down) to the various required formats (mostly square-pixel, apart from SD-Wide so-called “16:9” pixels, of 1.4568 aspect ratio (or other, depending where you read it).One argument, possibly the best one if only making a single format deliverable or if time is no object, might be to retain the original resolution, to avoid any loss of information through scaling.Resolution: The original footage/material could e.g.Master: Produce a 50 fps (if PAL) progressive Master at the highest resolution consistent with original footage/material.
Ultimately, this is the workflow that worked (and satisfied my demands): So I embarked on a combination of web-research and experimentation. Having only ever used Adobe (CS5.5 & CS6) for web-based video production, early experiences in attempting to produce a number of target/deliverable (product) formats proved more difficult and uncertain than I had imagined... For a current project, given historical footage shot in HDV (1440×1080, fat pixels), I wanted to generate various products from various flavors of HD (e.g. In my post I note the BBC Technical standards for SD Programmes state: >.
Here’s one big fundamental: Naively one might have hoped that long-established professional NLEs such as Premiere might provide high-quality optical processing based downscaling from HD to SD, but my less optimistic intuition, about the un-likelihood of that, proved correct. What is the best workflow for going from a high-resolution footage, potentially either progressive or interlaced, possibly through an intermediate Master (definitely in progressive format) to a variety of target/deliverable/product formats, from the maximum down to lower resolution and/or interlaced formats such as SD-DVD ? Posted in Adobe, After Effects, artefacts, AviSynth, deinterlacing, DVD, DVD, Formats, interlacing, Motion, Premiere, Premiere, Twixtor | No Comments » But it is the only proper way to get the expected “perfectionist” reinterlacing to happen!
On an interlaced display, such as an old analog TV or projector,.Most NLEs do not use this “perfectionist” method, instead they at best simply combine (ghost-blur) successive frames, with no compensation for time/motion.It achieves this by estimating the fields that would have been shot (had the original video itself been shot as interlaced) between each frame of the progressive video, via a process of motion estimation. HDp25 frames/sec) into spatio-temporal interlaced video (e.g. Great tip Michael W, this seems to be what I want, except that working only with movie/image/audio files it feels a little weird having to render an empty 3d scene to get to the nodes. Then if you want to work with individual image file scene strips it’d be nice to have an operator to make the current image clip a composite scene (there isn’t one currently) and that’d be easy to do in python as a “one button press” thing…(I almost finished writing the very thing last year, but my laptop got knicked and the urge to do it passed… You have one “scene” per cut,(if you want to composite) and you can store all your scenes in a single blend should you choose… then each scene has its own composite nodes reference the scenes as strips in the VSE and voila… render the sequence will do each individual scene, composite and then chuck it into your sequence.