General rule: Work in a setting that matches most of your source footage to reduce rendering. If you're going to output interlace, no big deal. But if you're going to output progressive, your interlaced footage needs to be de-interlaced to get rid of the "combing."
I ask my clients what the delivery format will be before I start editing. DVD? Web? BR? Then, I work in that format. If it's two or more, I work in the format with the highest resolution, so I don't have to upscale. Web videos need to be de-interlaced at some point.
I would suggest testing the mixed format workflow all the way through delivery format,
evaluate the results, and if you perceive any problems... report back.
Thanks guys! We're in the process of shifting from shooting/editing all interlaced to progressive. This was the first bit of progressive footage and i was just wondering if anyone had any tips on having a tiny bit of progressive in an interlaced project. All our stuff is destined for the web these days and we've still been using Compressor to do the actual deinterlacing. Will post back once the project is done if I have any issues.
Using progressive in an interlaced sequence is easier than the reverse. An interlaced sequence will simply duplicate each progressive frame for every field... actually half of it for each field, but the result is a full frame for frame.
But, interlaced footage in a progressive sequence offers you several choices: drop a field and double the remaining one (which effectively halves your resolution), composite the two fields together (resulting in field combing - ugly, esp. on motion); use some kind of frame blending to try to create a new frame out of two interlaced fields (this results in softening where there's movement; not so bad on static shots).
Choose your poison.
There are de-interlacing plug-ins from several vendors that can take the curse off the blending option. (Fields Kit, Red Giant Frames, etc.)
Pr has deinterlacing options as well in the Clip menu. I think it works pretty well. You may have to experiment with settings and also the footage Interpretation settings to get the look you want.
Excellent Jim! Thanks very much. This is very helpful. Unfortunately we will eventually be in that state having mostly progressive and needing to pull from our interlaced archive for supplimental footage. Your tips will help me do some thinking and digging around for a good workflow for us.
As a semi-side note, when we first shifted from FCP to Premiere I was hoping to drop Compressor completely and go with Media Encoder, but I couldn't figure out any way to do a good progressive master from our interlaced Pr timeline. When I posted on the Media Encoder forum I got the impression, for those that had already done tests, that there was no way currently in ME or in Pr to do an easy conversion of a whole timeline from interlaced to progressive. Thus we still use Compressor for that using the frame controls. However I'm very interested in looking into the plugins you mention.
Thanks for taking the time to post!!