Iu Monday Afternoon 1080p Or 1080i ##HOT##

[Antonio Hadfield]

<div>Maybe someone have an idea. I have an Alphawise H96 pro plus. When i watch 1080i channels with VDR addon i often have a bad video. Does anywone have this too? Is it graphic driver related? Box broken, overheated or somehing else? I attached a picture. This just happens in 1080i channels. Maybe deinterlacer problem?</div><div></div><div></div><div></div><div></div><div></div><div>iu monday afternoon 1080p or 1080i</div><div></div><div>Download File: https://t.co/SlqiyExmUy </div><div></div><div></div><div>I thought it might be related to 25fps i get while it watching live tv from the mediaportal addon and recorded live tv converted to mkv from ts, but as i said using the 8.90.5 build from GDPR-2 since yesterday afternoon it hasn't happened once</div><div></div><div></div><div>My apologies for what is a long, and likely hard-to-follow, post about creating smoother looking 1080p MP4 files from a 1080i source in Avid Media Composer. I'm hoping that I'm not just now discovering something that is a well-known work around. There's a short version at the very end for those with little patience or for those that can't follow my writing style.</div><div></div><div></div><div></div><div>Preface: I work for a small community college and have only upgraded our production equipment and to HD within the last year. Since then, we've shot everything in 1080i-59.94 to prepare for our cable station head-end upgrade, which will happen in August.</div><div></div><div></div><div></div><div>Problem: As many of you have experienced, creating 1080p MP4 files for use on YouTube (and other web sources) from a 1080i source has produced disappointing results. We typically would create a Quicktime Reference file from the Avid and then render MP4 content using Sorenson Squeeze 9. (We'd render MP2 files for DVD at the same time, which was a whole different set of problems.) What we were getting was either the interlace lines showing up in the footage (naturally) and also footage that seemed shuttered. Even when using the deinterlace tools inside of SS9, we never were able to lose the shuttered look. The movement wasn't as smooth as it appeared when watching the confidence monitors while editing. See an example of this below. </div><div></div><div></div><div></div><div>As we get closer to the install of our head-end, we decided to do some tests with 720p footage to see if we were happier with the results. Again as many of you have experienced, the 720p footage produced much more satisfying results. The result had the smoothness we expected when compared to what we saw in the confidence monitors and without the interlace lines.</div><div></div><div></div><div></div><div>That left us with the problem of what to do with the entire catalog of b-roll footage we've shot over the last year. As part of the testing, we brought the AMA linked 1080i footage into a 720p-60 project and went through the export and render process, and the result was the same smoothness as the confidence monitor and surprisingly, no interlace lines.</div><div></div><div></div><div></div><div>Since using the 1080i footage in the 720p-60 project worked so well, we decided to see what would happen inside of a 1080p-60 project. We took the same 1080i footage and threw a few clips together on a timeline and went to export it. Though the process of the export needed to change (more on that below), the resulting MP4 didn't show the interlace lines, nor did it have the same shuttered look. We had the same experience opening 1080i sequences that have been mixed-down.</div><div></div><div></div><div></div><div>Our solution and process for existing 1080i-59.94 projects:</div><div></div><div></div><div></div><div>1) Project shot and edited in 1080i-59.94.</div><div></div><div></div><div></div><div>2) Mixdown the sequence in the 1080i-59.94 project. I typically have a separate bin for mixed files/sequences.</div><div></div><div></div><div></div><div>3) Open a new project at 1080p-60, and open the bin containing the mixed-down files & sequence.</div><div></div><div></div><div></div><div>Avid will need to modify the sequence to reflect the new framerate and scanning.</div><div></div><div></div><div></div><div>This is where we found our first "hitch." MC 8.3 (or Quicktime) can't create a Quicktime Reference file of a "larger than HD" sequence. We had to create a new export setting.</div><div></div><div></div><div></div><div>4) Export the new 1080p-60 sequence using the DNxHD 1080p-30 setting. (MC doesn't offer an export using 60p, and for whatever reason 30p works and looks "right.")</div><div></div><div></div><div></div><div>5) Take the resulting sequence.mov file into Sorenson Squeeze and import it into Sorenson Squeeze 9. We just used the YouTube_1080p preset, but you can use an increased bitrate or whatever MP4 settings you require.</div><div></div><div></div><div></div><div>The crazy thing is that trying to use the same export setting in the 1080i project leaves the interlace lines. So, there's something that happens when MC resamples? / upconverts? the 1080i footage into a progressive scan project that doesn't happen in Sorenson Squeeze, or in any other program that would import the Quicktime Reference file. Sony Vegas was the closest to creating what we wanted to see, but even that left a bit to be desired.</div><div></div><div></div><div></div><div>The downside is that the process takes more hard drive space, and adds quite a bit of render time. We only came across this process this week, so we haven't really run many tests, but the render to the 1080p-30 file seems to run about 3x real time. It's not a great solution for long-form projects. We're hoping that in future versions of Media Composer (or Quicktime?) will have Quicktime Reference support for 1080p-60 files which would (hopefully) speed up the process.</div><div></div><div></div><div></div><div>See examples of the different steps/results:</div><div></div><div></div><div></div><div>1080i-59.94 footage and project, exported as a Quicktime Reference:</div><div></div><div> _Comparison/Project_1080i_Render_QTR.mp4</div><div></div><div></div><div></div><div>1080i-59.94 footage and project, exported as DNxHD 1080p-30:</div><div></div><div> _Comparison/Project_1080i_Render_DNxHD_30p.mp4</div><div></div><div></div><div></div><div>Best looking - 1080i59.94 footage in a 1080p-60 project, exported as DNxHD 1080p-30:</div><div></div><div> _Comparison/Project_1080p60_Render_DNxHD_30p.mp4</div><div></div><div></div><div></div><div>TL/DR Short Version: Was able to export smooth, non-interlaced 1080p footage from 1080i source in Avid Media Composer by working in an 1080p-60 project and exporting DNxHD 1080p-30 file to Sorenson Squeeze 9.</div><div></div><div></div><div></div><div>Our hardware for this whole experiment:</div><div></div><div>Sony PMW-320k camcorders shooting XDCam EX at 1080i-59.94</div><div></div><div></div><div></div><div>Avid Media Composer v8.3. All source files AMA Linked from the system raid.</div><div></div><div></div><div></div><div>I/O with AJA Kona and viewed via HD/SDI on the confidence monitors</div><div></div><div></div><div></div><div>Sorenson Squeeze 9 as the conversion between the DNxHD to MP4.</div><div></div><div></div><div>Have you tried the deinterlacing features in Squeeze? My workflow would likely be 1080i59.94 project (match your source media), QT-Ref out, bring that to Squeeze, and apply a deinterlace filter. That just seems to be the easiest way to stay as close as possible to your original media all the way through the process, and then do the deinterlacing/smoothing in your final encode.</div><div></div><div></div><div>Using this new process, I can still relink the footage in the original timeline in the 1080i project. I can mixdown to a new sequence and import that new sequence to the 1080p project.</div><div></div><div></div><div></div><div>I agree, it's a super convoulted process, and I'm not totally sure why it works. But it worked when going down to 720p, so I figured what was there to lose.</div><div></div><div></div><div></div><div>My plan for the afternoon was to move up to the current 8.4 version to see if the process could be simpler. (Am I the only one who is scared to upgrade software that "works." I don't want to break anything!)</div><div></div><div></div><div></div><div>The deinterlacing feature in Squeeze gets rid of most of the interlacing in the picture, but I'm still left with the shuttered look. Check out the examples to see. Maybe it's just something I see here on my machines.</div><div></div><div></div><div>Another one of my wild ideas was to mess around with video and not sure how many years ago but bought this at Normans Camera in Michigan. In todays world of fast moving technology is this still worthy of messing with it..:) I mean brand new and going to see about charging up the battery this afternoon if it will take a charge..</div><div></div><div></div><div></div><div></div><div></div><div></div><div>I am still using my Canon XLH1 camcorders with Atomos Samurai external recorders. after seeing the results. Very few people have issues with the video quality. I only have two major problems with the Canon XLH1 When I bought it years ago, I did not understand the difference between 60i and 60p. Which I blame Canon advertising for. I did truly understand it, until I read an article detailing how the 60i recording method. In reality is less than 720p. In you are only recording on 1/2 the frames when shooting in 1080i. Which means you are only shooting 540p. In most situations, the majority of viewers will not notice a difference when viewing videos shot in 60i or 60p. For me, the 60i recording format became a problem when shooting slow motion. The other issue I have with the Canon XLH1, is placement of the Time/Date battery. Unlike the Canon XL2 model, where the Time/Date battery could be replaced by end user. The Canon XLH1 Time/Date battery is rechargeable, and can never be replaced. And, when I say NEVER, I mean NEVER. It is placed in the XLH1 in such a way. That you have to destroy the camcorder to access the Time/Date battery inside the Canon XLH1 camcorder. For all of you, who put your faith and trust in Canon digital cameras, and large format printers. How, where, and why the Time/Date battery of the XLH1 camcorder was installed in such a manner. Should tell you all you need to know about Canon products going forward.</div><div></div><div></div><div>I have a HD set top box in my bedroom with a 1080p capable LCD TV (Vizio 22"). At present I setup the video on the set top box to 1080i, and my HD channels seem to display fine. The question I have revolves around HD channels whose signal is in 720 vs those that send a 1080 signal. Is the set top box smart enough to know the signal stream coming in, so the display on my TV tells me which signal it is? Do I have to enable something for this? At present any HD channel I flip to shows as though a 1080 signal is coming in, which I know is not true for all HD channels like Fox and ESPN.</div><div></div><div></div><div>"You can override your SD resolution in the STB. If you select SD Override OFF, the STB will upconvert your SD signals to 1080i or 720p. If you select SD Override to 480i or 480p, your SD stations will be passed at 480i or 480p, whichever you select."</div><div></div><div></div><div>FIOS STBs will only output ONE HD resolution. You select either 1080i or 720p and all HD content will be sent to your TV (assuming HDMI or Component, not Composite or S-Video connection) wiht that selected resolution.</div><div></div><div> dd2b598166</div>