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mov 50i to 25p pulldown advice.
  • squigsquig

    I think I might have made an amazing discovery with the D5200 but I need to do a 50i to 25p reverse telecine. I'm on a mac, I've got fcpx, premiere, after effects, and fcstudio 7 (not installed). I tried compressor but it looks like shit. I'm googling but I need some expert advice. Thanks.

  • 12 Replies sorted by
  • inqb8trinqb8tr

    You don't do inverse telecine from 50i to 25p. Inverse telecine removes 2:3 pulldown that is used to convert 24p film source to NTSC TV standard. 50i to 25p is just deinterlacing. A and B fields (odd and even, upper and lower) get combined into one progressive frame. So google deinterlacing 50i to 25p.

    Ok now what's the discovery?

  • squigsquig

    Ahh right thanks, yeah got the terminology wrong, it's been a long day. I don't want to say anything until I'm sure, I have to re-test and re-check my workflow before I can confirm anything but it looks promising.

    I've been trying to just straight deinterlace in compressor but the interlacing is still there.

  • inqb8trinqb8tr

    Ahm, after thinking about this you haven't got anything wrong, I apologize. It is probably ok to say reverse telecine even from 50i to 25p, it is just in most cases it is referred to just as deinterlacing, and inverse telecine as removal of 3:2 pulldown.

  • squigsquig

    hehe. I've haven't worked with interlaced material for over 10 years, I feel so unclean!. Shian suggested a method in After Effects so I'm trying that now.

  • balazerbalazer

    Inverse telecine is the inverse of a telecine's pull-down, usually 2:2 or 3:2. It's a specific kind of de-interlacing, and not one that applies here. inqb8tr, you were right the first time. A general de-interlacing is what he needs.

  • nomadnomad

    The best plug-in is RS Fields Kit, but you can get decent results in AE itself.

    The difference between true interlace and 3:2 pulldown: the latter is repeating content, it generates redundant data. True interlace is coming from distinct moments in time and has no redundancies.

  • squigsquig

    I'm shooting a feature for theatrical release and I can't afford any nasty surprises in post, so the question really is can I convert 60i source material to 24p without any voodoo magic?

    When I open the 60i footage in quicktime or VLC player it plays back deinterlaced, but when I try to play it in FCPX it falls apart.

  • inqb8trinqb8tr

    @squig

    Wait, 50i to 25p or 60i to 24p?

  • nomadnomad

    60i to 24p IS nasty! Why not shoot progressive?

  • squigsquig

    The D5200 progressive high ISO is really noisy, 50i and 60i is a lot cleaner. 50-25 or 60-24 either works for me, whichever produces the better image.

    I've managed to get 60i to playback deinterlaced in a 24p timeline in fcpx but it's a bit soft. I'll try 50-25 and see how that goes.

  • mrbillmrbill

    Why not shoot 24p? Is the Nikon really that much cleaner at 50/60i?

  • squigsquig

    Over 800 ISO yeah much cleaner.

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