#SWITCHRESX 1080I INTERLACED 59.94 PRO#

Interlaced video grew out of analog television, and understanding exactly how interlaced video works in the analog world gives a lot of insight into how it’s best handled in a progressive world. And no, you are not allowed to slap two fields together that way. Well if you see things like that, then the video’s being processed incorrectly. Most people think of the dreaded fingering that can occur when two fields are slapped together: There’s a huge misconception about interlacing artifacts, particularly among those who grew up in the digital television age with flat panel displays. Generally here its preferable to sacrifice a bit of resolution in favor of a higher (full-frame) refresh rate. Sports (and in general content that has high motion) tends to benefit more from progressive frame video. The reason is that there aren’t 60 frames/s to begin with, and through some processing (telecine in the case of 24p source content), it’s possible to recover something resembling the original frame at the television. Movies and shows shot in 1080p/24 or 1080p/29.94 tend to do well when broadcast at 1080i. Some types of content benefit from 1080i more than others, of course. 1080p/59.94 generally requires a higher bitrate than 1080i/59.94 to achieve the same perceptual quality, especially when you consider the amount of work that’s gone into post-processing interlaced content so it looks good on a progressive display.

Progressive video is always easier to deal with than interlaced, and it’s so easy to process interlaced video incorrectly and get weird artifacts. Given a choice between interlaced and progressive video at the same resolution…and no bitrate constraints…I’d of course choose progressive. Perhaps it’s my analog video background, but I have a far more favorable view of interlaced video. Interlaced video, in comparison is said to be Just Plain Evil. progressive video and how progressive video is inherently superior. When you have you sequence complete, export and choose an interlaced format for broadcast, you can also create progressive exports for web use, etc.There’s been a lot of chatter about interlaced vs. From the drop down menu choose Modify > Interpret Footage and set the clip to Assume the frame rate of 29.97 and make the clip interlaced by specifying Upper Field dominance: If you want to take advantage of your higher frame rate from the DJI to make smooth 50% speed: duplicate a/the source clip, and right click on the duplicate.

#SWITCHRESX 1080I INTERLACED 59.94 PRO#

For now, just worry about Frame Rate and Field order when interpreting.ĭoing so will make all your source footage progressive, including the footage that was shot progressive with the Sony cameras, is that what you want?Ĭreate an interlace sequence by dragging an interlaced source clip from one of your Sony cameras to the timeline and when prompted, match the sequence settings to the source clip.Īdd the DJI footage directly to the sequence - Pro will deal with the conversion from 60p to 1080i. First, create your sequence 29.97 (Progressive).

Switchresx 1080i interlaced 59.94