5 Replies Latest reply on Sep 7, 2011 10:57 AM by Colin Brougham

    Limitations of editing interlaced footage


      I have a timeline full of Red camera and P2 footage in both 29.97 and 23.97fps. Since my final deliverable is 1080i, I have been advised that for maximum image quality to encode all to 29.97 interlaced. The advice is to add 3:2 pulldown to the 23.97 clips through After Effects since AME apparently does not add pulldown correctly.


      I was also told that I would then be "subject to the limitations of editing interlaced footage."


      I don't know what that means. Can anyone help?

        • 1. Re: Limitations of editing interlaced footage
          Colin Brougham Level 6

          Is your 29.97 footage interlaced or progressive?

          • 2. Re: Limitations of editing interlaced footage
            film418 Level 1

            It is 90% all progressive, both P2 and Red camera.

            • 3. Re: Limitations of editing interlaced footage
              Colin Brougham Level 6

              Just create a 1080i60 sequence and drop your footage into it. Premiere Pro will do a fine job of interlacing the 29.97p footage and of pulldown insertion for the 23.976p footage. I do both of these frequently, with satisfactory results. If you had all progressive footage, I'd suggest editing in a progressive sequence and exporting to interlaced, but with the interlaced footage you have to use, you'll find that the interlaced sequence will work better (it's not being deinterlaced just to be reinterlaced on export).


              I think whoever suggested the workarounds you mentioned hasn't used Premiere Pro recently... if at all.

              • 4. Re: Limitations of editing interlaced footage
                film418 Level 1

                Colin. Thanks for the response. Since you've used Premiere in this way and the fact that it's worked for you gives me confidence. If I can do it this way, I will save an enormous amount of time.


                The person who gave me the original advice is actually a very experienced person who works in the broadcast field daily. His advice however is about a year and a half old (back in CS4) I think. He said that he had tested adding 2:3 pulldown to progressive footage with both AME and After Effects and that he found After Effects to be better. The discussion at the time was all about ultimate image quality.


                Let me ask you a further question if you don't mind. Although I have a pretty strong 64 bit machine, I'm not sure if it can handle native files on the timeline even if I edit at quarter resolution. Of course I can test it. My question is: would you tend to edit native files and let Premiere encode everything correctly as you describe or, if you had Cineform's Neo4K available which I do, would you use that?

                • 5. Re: Limitations of editing interlaced footage
                  Colin Brougham Level 6

                  AE was, once upon a time, the way to do this, since PPro's handling of progressive material to an interlaced output left a bit to be desired (and vice versa, from interlaced to be progressive). I'm confident in saying that as of CS5 and CS5.5, you can pretty safely proceed with only Premiere Pro and AME. Most of my source material is 1080p24 and it ends up going to everything from 1080p24 to 480i60. That's just my opinion, though.


                  I say native all the way, baby. It's the only way to fly in Premiere Pro--of course, with hardware as a consideration. Some jerk wrote this: Native Format Editing in Adobe Premiere Pro