Well that will create dve judder if the source is 25P but my problem is usually battling 2:3 pulldown and blurs that move interlaced when the video is 2:3 pulldown. Quite the pain when tracking isn't an option, which is quite often with Avid's marginal tracker.
--- In Avid-L2@yahoogroups.com, Dylan Reeve <dylan@...> wrote:
>
> To quote the BBC technical standards document:
>
> "2.1.2 Post-production
> Electronically generated moving graphics and effects (such as rollers, DVE
> moves, wipes, fades and
> dissolves) must be generated and added as interlaced to prevent unacceptable
> judder."
> http://www.bbc.co.uk/guidelines/dq/pdf/tv/tv_delivery_to_network_programmes_v1.0-2011.pdf
>
> As all programmes are to be delivered in 1080i50 (or 1080i/25 in BBC
> terminology) regardless of acquisition, they mandate that non-filmed content
> be interlaced to avoid, as they put it, "unacceptable judder"
>
> This is common of most PAL networks who's tech specs I've seen.
>
> Dylan Reeve
> http://dylanreeve.com/
>
>
> On Thu, Jul 7, 2011 at 3:52 PM, johnrobmoore <bigfish@...> wrote:
>
> > **
> >
> >
> > That's an odd BBC requirement for rendering in 50I if the material is in
> > fact 25P the dve moves etc... look better if the motion is frame not field
> > based. What issues are they trying to avoid by this requirement?
> >
> >
> > --- In Avid-L2@yahoogroups.com, Dylan Reeve <dylan@> wrote:
> > >
> > > If everything is 25p you might have some useful finishing options - in
> > > Symphony you can use Universal Mastering to do your 1080p25 output as
> > > 1080p24 or 1080p23.976 (effectively a 4% slowdown). The 24p master can
> > then
> > > be converted to 1080i59.94 via the usual 3:2 pulldown methods.
> > >
> > > That option is not available with 1080i50 and the conversion from i50 to
> > > i59.94 might not give such good results.
> > >
> > > Symphony will also go from a 1080p25 project to 1080i59.94 - I'm not
> > totally
> > > sure what process it uses to do that (is it going 25->24->59.94?)
> > >
> > > For most progressive "PAL" HD shows we still work in 1080i50 as the
> > > broadcasters often want motion effects and DVEs to be rendered in 50i
> > (this
> > > is a BBC requirement, for example).
> > >
> > > Dylan Reeve
> > > http://dylanreeve.com/
> > >
> > >
> > > On Thu, Jul 7, 2011 at 9:49 AM, Tony Capelli <tcapelli@> wrote:
> > >
> > > > We use the same camera here for a couple of shows and shoot 24p but it
> > gets
> > > > onlined in 1080i/59.94 and laid off 59.94. I color correct the shows in
> > > > 1080i/59.94 and use 4.0.5 just like you. We haven't had any major
> > issues
> > > > using the different frame rates. Some editors like to stay in the frame
> > > > rate
> > > > the footage was shot in (offline in 1080p/23.97) so they can group
> > clips or
> > > > make motion effects, both of which can't be done if you're in a project
> > > > with
> > > > a different frame rate, but others have found work arounds for those
> > > > issues.
> > > >
> > > >
> > > > Our biggest issues have been if a show is offlined in the original
> > frame
> > > > rate and then moved to a different frame rate any matte keys that are
> > used
> > > > won't work. The sequence won't even open, so what you need to do is
> > remove
> > > > them all in the original project and then replace them all in the new
> > > > project, that god for assistant editors. Audio too at times can get a
> > > > little
> > > > funky with spots going a few frames out of sync. We just slip them back
> > in
> > > > sync when they do but we will at times come across spots where we get a
> > > > track that has slipped half a frame and it will cause an echo effect.
> > Those
> > > > areas are the hardest to work with.
> > > >
> > > > Hope some of this info helps. To me it seems that the editors who know
> > the
> > > > issues that occur when jumping from frame rate to frame rate attempt to
> > > > work
> > > > in what will be delivered for online but I think it really just depends
> > on
> > > > what the editor wants. A couple of our guys are heavy users of motion
> > > > effects so they like to stay native.
> > > >
> > > > Tony
> > > >
> > > > On Wed, Jul 6, 2011 at 2:09 PM, jaclynlee71 <production@
> >
> > > > >wrote:
> > > >
> > > > > **
> > > > >
> > > > >
> > > > > Hi, I posted a couple of weeks ago, and had a follow up question
> > > > regarding
> > > > > the proper Avid project for the offline. Our producer just informed
> > me
> > > > that
> > > > > he is going to shoot (Sony EX3) at 1080p, 25fps. Should the project
> > be
> > > > > 1080p/25 or should I open up a 1080i/50 project?
> > > > >
> > > > > Project is shooting in PAL (in China): Sony EX3 at 1080p, 25fps
> > > > > Offlining in NYC in PAL, on a Mac, OSX 10.6.2, 2x2.6 Quad-core Intel
> > > > Xeon,
> > > > > 10GB
> > > > > 1066Mhz DDR3 RAM. Current version of Avid Media Composer 4.0.5.
> > > > > No online house chosen yet, but should I assume all online houses can
> > > > > handle either a 1080p/25 or 1080i/50 project?
> > > > > Deliverables: probably HDCAM; I'm told it will be broadcast instead
> > of
> > > > > released in theatres.
> > > > >
> > > > > Thanks,
> > > > >
> > > > > Jaclyn Lee
> > > > >
> > > > >
> > > > >
> > > >
> > > >
> > > > [Non-text portions of this message have been removed]
> > > >
> > > >
> > > >
> > > > ------------------------------------
> > > >
> > > > Search the offical complete Avid-L archives at:
> > > > http://archives.bengrosser.com/avid/
> > > >
> > > > If you want to donate to Red Cross quake relief, you can do so through
> > your
> > > > cell phone. Text redcross to 90999 to make a $10 donation. It will be
> > on
> > > > your next cell bill.Yahoo! Groups Links
> > > >
> > > >
> > > >
> > > >
> > >
> > >
> > > [Non-text portions of this message have been removed]
> > >
> >
> >
> >
>
>
> [Non-text portions of this message have been removed]
>
If you want to donate to Red Cross quake relief, you can do so through your cell phone. Text redcross to 90999 to make a $10 donation. It will be on your next cell bill.
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