I used to switch to P in my projects to achieve the same low bit rate transcode option. Now that ProRes is native, I stopped my habit and do these transcodes in the I format to Apple ProRes Proxy, which yields around the same quality/storage benefits as DNxHD 36/45.
On Sun, Dec 8, 2013 at 4:35 AM, Roger <rogershuff@yahoo.co.uk> wrote:
Thanks - interesting. I didn't actually need to convert to progessive, just use a codec with a lower data rate than is on offer in an interlaced project.
On 7 Dec 2013, at 18:06, Job ter Burg (L2B) wrote:It makes perfect sense.If you have 50i footage and you store it as P, you are in essence folding both fields (1920x540 x2) into a single frame (1920x1080 x1).If you open that footage in a 1080i project, the field stepping command will let you step from one field to the next, where a field is nothing more and nothing less than half of the lines of any frame.Transcoding to P doesn't make it progressive.I or P, both are stored as a frame, but they are flagged differently.JOn 7 dec. 2013, at 18:48, Roger <rogershuff@yahoo.co.uk> wrote:Came a cross a weird thing (well, maybe not if someone knows the answer). I had a card full of 1080i/50 footage from a Panasonic camera. For a rough edit, I decided to transcode to DNxHD36 (P) to keep the file sizes down. I set the Project format to 1080/25P and transcoded everything I needed. I then happened to examine some of this transcoded footage in a 1080i/50 format project, at full quality. I was able to step through field by field and both fields are still there. This is a dance studio so lots of movement - and I'm not just seeing the nudging up and down of the image that you usually get with progressive footage viewed in an interlaced project. It looks just like interlaced would. Am I mad? Symphony 6.0.4 on Mac OS 10.7.5.With best wishes,Roger Shufflebottom
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