The CV420-CS offers the following resolution modes and frame rate settings: It has a Varifocal or Fixed CS/C lens mount capability with DC Auto-Iris plug-in for custom lens adaptions.
#Switchresx 1080i interlaced 59.94 manual
In regards to center safe, if you're given material that isn't center safe, you're going to need to talk with them about that, as you'll have to do a push in and do manual pan and scan using the motion filter, adjusting the frame position on the canvas to get it to 4:3 safe.Built around a 12.4-Megapixel, 1/1.7-inch sensor, the Marshall CV420-CS is a new, compact true 4K camera that delivers crisp, clear 4096x2160p video with vibrant colors and fast frame rates in outputs including 12G/6G/3G/HD-SDI and HDMI 2.0. Limit to the specifications they have stated. You will need to apply a Dynamics and/or Limiter filter in the Audio Mixer Window Filter Dropdown. In regards to the audio they have peaking requirements. If so, you can use the Use Maximum Render Quality Checkbox at the bottom of the export panel window.īe advised this will likely increase your rendering time by multiple fold. Lastly, if you have material at lower resolution, AME will be upscaling it to get to 1080. Only one is necessary, and my recommendation is simply allow Adobe Media Encoder handle the p to i conversion. And do not double the effect by applying it to the clip in the timeline (which you can do by right clicking the clip Under Frame Blending/Field Options) and then stack it with another Blend on export.
It isn't quite the same "look" wise as actual Interlaced source material however, specification wise it should meet their needs and to the average viewer most will not notice.ĭo not however use Frame Blending if you are using Interlaced material. It is really unnecessary to make any additional adjustments from the timeline in Premiere, because what you ultimately want to do is use Frame Blending when you export.Īfter you've made any adjustments, go to export, choose the format you need 59.94i, whatever codecs they are requiring, many are already built in others may need to be downloaded.Įnsure you turn on Frame Blending, IF your source material is progressive.įrame Blending will force interpolation of the frames during the rendering of your new video outputs, using two side by side discreet progressive frames to create a new "quasi" interlaced frames, twice as many frames as your progressive source at the correct frame rate. Looks aside, in order to output your video from PPro, all you will simply want to do is import the footage material in (original) right mouse click new sequence from clip make any edits/trims, etc. You are able to achieve better slow motion in post production with i vs p, however, p, is of course the preferred format to most. That said, you get smoother motion with i vs p. These lines are then displayed back to the viewer odd/even//odd/even//odd/even etc. So you technically have a first set of lines which are actually one frame, with the other set of lines missing. Interlaced lines are scanned odd lines first, then even. This, due to the fact that interlaced is in many ways like: You're not going to be able to replicate the precise "look" of 59.94, even with special plugins. My question is, how can I keep the format consistent, interlaced fields, across different applications and also what output format should be used for the final video / deliverables.Ĭan I apply my editing and motion graphics like normal with progressive, but 60 frames/sec, then at the very end export a rendered video that is 1080i? I plan on using Adobe Premiere for any editing of the uncompressed footage and then for motion graphics / animation using After Effects. I have never received / edited OR built / rendered out a 1080i (59.94) video before, always digital / progressive(.mp4 ).
All High Definition content MUST be 1080i (59.94) format.
#Switchresx 1080i interlaced 59.94 tv
I have a video project and the format is for Broadcast TV and needs to be interlaced NOT progressive video.
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