high-end deinterlaced software or filter or plugin

[chriskindom]

Hey.., i´ll really apreciate if you could tellme what kind of deinterlace you should use for a DV movie that´s going to be blow up to FILM. I need to deinterlace. So i really don´t know what of all filters or plugins or software, should be best.

Sory about me english, i´m from Argentina.

Thank you

[bb]

I'd use AviSynth filters and try which one I like best. Good filters are e.g. KernelDeint from Donald Graft's Decomb package and TomsMoComp.

bb

[nicco]

I use KernelDeint.

[scharfis_brain]

@chriskindom:

which TV standard do you have in Argentina?

if It is PAL, just use a deinterlacer.
if it is NTSC try using the AVISynth function convert60ito24p()

edited

[Malcolm]

in my opinion, tomsmocomp is by far the best deinterlacer compared to kerneldeint and sangnom.

Greetings,
Malcolm

[nicco]

I tried tomsmocomp: very good!!

[hendrix]

Originally posted by chriskindom
Hey.., i´ll really apreciate if you could tellme what kind of deinterlace you should use for a DV movie that´s going to be blow up to FILM. I need to deinterlace. So i really don´t know what of all filters or plugins or software, should be best.

Sory about me english, i´m from Argentina.

Thank you

ok...what was the shutter speed set to...if youre using a PAL camera then it should be set to 1/50 and NTSC to 1/60

for deinterlacing from DV to Film then i would use Magic Bullet Suite (http://www.redgiantsoftware.com/magbulsuit.html) plug-in for Adobe After Effects...it's by the far the best deinterlacer i've ever seen...if your footage was shot right the you'll see no smearing or "Ghosting" associated to deinterlacing...if youre not sure what the shutter speed is..then just shoot a TV screen and you should see no flickering...if you do then just adjust the shutter speed until the flickering stops

if youre happy with the results, then create a SGI sequence from After Effects for a filmout house to make a 35mm print


i used Magic Bullet on a number of projects with incredible results...good luck

[scharfis_brain]

you'll see no smearing or "Ghosting" associated to deinterlacing

kerneldeint, tomsmocomp etc. do not produce smearing or ghosting...

hendrix, have you ever tried them.

(I cannot test Magic Bullet, because I do not have After Effects)

[hendrix]

i've tried some deinterlacing with using avs scripts in the past and i wasn't too happy with the results...i've seen ghosting and look to be double vision quite annoying...plus chriskindom stated that film was the desired output...and the best way is to deinterlaced using Magic Bullet and out to a SGI sequence for 35mm.

i havent tried using kerneldeint, tomsmocomp...i will check them out...thanks

[scharfis_brain]

.i've seen ghosting and look to be double vision quite annoying.

then it probably was

fielddeinterlace(blend=true) ,hehe.

[hendrix]

chriskindom stated that film was the desired output...and the best way is to deinterlaced using Magic Bullet from 25fps or 29.97fps to 23.976fps then export to a SGI sequence for 35mm.

you can always use pulldown and export to a .avi or .qt file to view the results. dont use pulldown when exporting to a SGI file..since film is 24fps not 30 - but of course you already knew that :)

i havent tried using kerneldeint, tomsmocomp...i will check them out...thanks

[communist]

TomsMoComp does it for me - no hassle as it does always a job that pleases my eyes :)

[DaveId]

regardless of whether or not you can deinterlace it smoothly, would this not cause undesired playback speed of your footage? de-interlacing should not (drasticly) reduce your frame-rate, it should only blend (or whatever method you choose) the fields to create full frames of images instead of two fields.
i am not speaking from experience, only logical reasoning.. however, if you deinterlace, would you not also need to slow your frame rate to close to 24 fps in order to meet film standards? if so, doesn't that require decimating some frames? the problem i see is, how would you choose which to drop? or an encoder? going from 24 to 29.976 is easy (obviously not easy mathematically) but adding or stretching frames to maintain audio synchronicity is an easy enough concept. even if you just added dupes of non-action frames, but we came up with the wonderful telecine process to make that much easier, now we add pairs of fields (or half-frames) with a mathematical formula.. a lot of us here are familiar with inverse-telecine, which removes the extra frames by utilizing the same formula.. we are also aware that if you do this to a true ntsc source, you will have problems.
right?
so, keeping that in mind.. if this is an interlaced ntsc 29.97 fps source, how would you logically convert that to a progressive film 24 fps??? maintaining audio synchronicity AND smooth video playback?
please correct me if i am wrong..
dave

[hendrix]

if you shoot with the shutter speed at 1/60 (NTSC) then converting to 24p wont be a problem if youre shooting as if it were film (ie. slow pans and such) you can ad some motion blur to simulate film blur, the audio should be at 30ND fps for the film houses to properly sync up the audio/video.

go to this website (http://www.denecke.com/24pinfo.htm) for more info

[DaveId]

if i am going to put something on film i will use a camera that captures at 24p.. time stretching and motion bluring don't quite appease me.. but then again, this wasn't my thread....
though reading around on the page last linked, it seems to be about going the other way
" 30 fps Time Code is used when transferring film to 29.97 fps video for video/workstation editing or when transferring to mag film. The following chart shows the frames that are coincident between 30 fps and 24 fps."
so i still am confused as to the process (a logical procedure that can be followed) for taking 29.970fps ntsc video and converting it to 24fps film... because, isn't that what this thread is about? or is it just about deinterlacing ntsc video for smooth playback (perhaps through a projector, which can remedy the need to decimate your video to make a 24fps film) on a progressive display.. however for playback in movie theatres you would have to do some 'frame-loss' or perhaps a blending, in order to drop the necessary 6 fps (and if we are removing the need for television compatability could we not find a way to drop it by 5.97 fps?)... keeping in mind that we would have to speed our audio up to match, or manipulate in some other way..
i post because i am interested.. as of yet i do not see a need for this in my work, but in the future i may..
i might have work on a movie which is being shot 24P digital, with two backup cams taking in a NTSC 29.97 video... this is for film playback, AND eventually DVD. I know for the DVD i can just telecine the 24P video, and leave the NTSC in tact... however, for the NTSC -> 24P I am confused, so the title of this thread caught my attention..
but that is only a possibility, someone else may have the headaches for that movie.. but, i would still like to know of different approaches to this..
thanks for bearing with me..
dave

[hendrix]

Originally posted by DaveId
if i am going to put something on film i will use a camera that captures at 24p..
i agree..if you can get a 24p camera then shoot with it

ive done some experimenting with 30i video shot at 1/60 and used the Magic Bullet plug-in for After Effects to make the footage 24p and it looked great...it's a great plug-in if youre mixing film footage with video...if done right then you wont be able to tell the difference

[scharfis_brain]

can anyone compare my
convert60ito24p() or mvconvert60ito24p()
with magicbullet?

[hendrix]

Originally posted by scharfis_brain
can anyone compare my
convert60ito24p() or mvconvert60ito24p()
with magicbullet?
i will try it tonight and let you know
btw i like your site...really informative

[theReal]

I don't know Magic Bullet, but from my experience with avisynth plugins I'd say that the avisynth stuff is at least as good as the (so-called) professional plugins :)

[hendrix]

avisynth plugins are more than good enough for home viewing but chriskindom wanted to goto film. If youre going to bring a digital projector with you then you can use various avisynth plugins to make your DV presentation look good. Will film houses take .avi or .mov files? From my understanding the easiest way is to take .sgi sequences to them and your audio at 30ND fps - it's the cheapest.

[theReal]

for a DV movie that´s going to be blow up to FILM

So, the source is DV - that makes a perfect match with avisynth plugins! As soon as you have deinterlaced and filtered, you can think about the file format you need for the film conversion. Probably the best would be to keep the DV format and give them a DV tape (AFAIK production companies capable of film conversion usually have tape recorders for any remotely available format...)

btw. would it be a lot more expensive to let the film house/production firm make the deinterlacíng before they bring the material to film? Will they even charge different prices at all?

A friend of mine works at ARRI production (thoug he is, like me, still doing job training as an A/V technician) I can ask him what they do with interlaced and/or progressive DV when they convert it to film.

[hendrix]

Originally posted by theReal
A friend of mine works at ARRI production (thoug he is, like me, still doing job training as an A/V technician) I can ask him what they do with interlaced and/or progressive DV when they convert it to film.
ya please do so i would like to know

AFAIK it would be more cost effective to do all the deinterlacing, deartifacting, etc. yourself and just bring the .sgi sequence along w/your soundtrack at 30NDfps to the film house. let the film houses do as little as possible.

[theReal]

My friend asked the film conversion pros at work what they thought about deinterlacing before you give them DV source material.
They told him it wasn't necessary (not even advisable) in their case because the ARRI laser technique they are using is capable of hardware deinterlacing that is optimized for film.
The deinterlacing would - in their case - not make the whole procedure more expensive (it's just a hardware feature they either turn on or off).

However, they charge about 15,000 Euro for 90 minutes of DV --> 35mm film anyways, with or without deinterlacing...
I don't know what the usual prices are, but that seems pretty expensive to me :rolleyes:

[hendrix]

thanks for the info...very interesting

[chriskindom]

i´m very happy for many answers!!!!!!!!

sory for my late reply.

Mi original format is pal, and i start testing both the avisynth plugin and the after effects plugins. Here, the studio not charge for deinterlacing the material, i like to test by my own because i don´t trust that the really be care about the work, i´m afraid that they would use a deinterlace way like discard one field or something like that.

Thans all, and this forum is great!!!!!!!!!