Capturing 25P HDV into Premiere on Windows at DVinfo.net

Jon Shohet · April 12th, 2008, 09:12 AM

Hi everyone,
How should I capture a tape shot in the V1E in 25P hdv mode?
I'm using a windows pc and premiere pro cs3, and I can't afford at the moment the cineform plugin.
I tried to capture using the "HDV 1080p25" project setting but the software wont recognize the camera.
If I use the "HDV 1080i25 (50i)" setting, I can capture.
But does premiere know the the signal is actually 25P?
Also, The audio goes out of synch in premiere, although if I play the captured mpeg in media player the synch is fine.
Any input from you would be greatly appreciated, many thanks.
Jon.

Marcelo Lima · April 14th, 2008, 12:28 PM

i Think... The premiere only transfer the mpeg (m2t...) video from the tape to the computer.. So, if the video is 25p, i think the video will be in that way on capture.

Jon Shohet · April 16th, 2008, 12:39 AM

thanks Marcelo.

I Know that the v1's 25P signal is 25P wrapped in a 50i form. I'm not sure I understand the practical implications of that if I want to edit in a 25P timeline.
Do I need to do anything to the captured mpeg file?
Should I capture in a 50i project and then re-open the files in a 25p project?
Also, has anyone who is working with the v1 and premiere experience these audio synch problems which I mentioned before?

Sorry if these questions seem basic, but I can't seem to find any answers from sony or adobe. most of the information out there seems to revolve around 24P workflow and not the PAL version.
many thanks, Jon :)

Marcelo Lima · April 17th, 2008, 04:41 PM

Thats what i said.. I think the way the video go to the pc (by firewire) is the same.. For example. Today i captured an DV 4x3 video in 16x9 project.. the video got in the same way.. So i think, you can try to capture on the way that works and you import on right project settings...

another tip is try to find an software which gave you the information about the file... (or going on proprieties on premiere) to see the technical specs of the video file.. and there you can see if the video is ok...

Jon Shohet · April 22nd, 2008, 01:39 AM

Hi guys.
I'm still looking for a more definite answer. I'm surprised this is so complicated.
All I want to do is to edit my videos in Premiere in a progressive timeline, so I don't end up with interlacing artifacts when applying effects (like the ones that happen when you stretch a clip's duration in an interlaced timeline).

The clips I capture in a 1080 50i project do not need rendering. If I insert the clips into a 1080p25 projects, they need rendering. Obviously Premiere does not recognize the v1's 25P as anything other then regular 50i footage.

If the source signal was originally progressive, and just written as interlaced for capture\edit compatibility, why can't I find a simple solution to "reverting" the footage back to 25p, now that Premiere has the ability to edit in that format?

Doesn't anyone have an answer?
Help, please?
thanks again, Jon.

Harm Millaard · April 22nd, 2008, 02:15 AM

There is nothing complicated about it. The camera records 50i. That is the project setting you should choose.

If you record interlaced, it will be A0-A1-B0-B1-C0-C1-D0-D1 etc. 50 fields
If you record progressive, it will be A-A-B-B-C-C-D-D etc. 50 fields

In both cases the tape will contain 50 fields, progressive just happens to repeat the first field, whereas interlaced contains different fields.

This only applies to PAL 25P, not to NTSC.

Jon Shohet · April 22nd, 2008, 03:03 AM

Thanks Harm, but the way I understand, the V1 will always record the signal interlaced as A0-A1-B0-B1-C0-C1-D0-D1.
The difference is that in the 25P setting it will scan the image progressively, so that A0 and A1 are captured at the exact same time, as opposed to regular interlaced scanning. The A-A-B-B-C-C-D-D method was the way the PD did progressive, throwing away resolution to achieve the progressive look. The V1's progressive is supposed to be "true" progressive scanning.
Am I wrong on this?

I plan on mixing V1 footage with stop-motion animation captured with a DSLR, so I really want to be able to edit in a progressive timeline.
In my experience with editing SD in Premiere, working in an interlaced timeline will always introduce interlacing artifacts when applying effects and especially stretching a clip's duration, even if the source footage is progressive.

I was hoping that there is a way to "reassemble" the V1's "25P-50i" back into proper 25P without re-encoding and re-compression. If you have any more thoughts on this I would really appreciate it.

April 12th, 2008, 09:12 AM	#1
Jon Shohet Major Player Join Date: Dec 2007 Location: London, UK Posts: 277	Capturing 25P HDV into Premiere on Windows Hi everyone, How should I capture a tape shot in the V1E in 25P hdv mode? I'm using a windows pc and premiere pro cs3, and I can't afford at the moment the cineform plugin. I tried to capture using the "HDV 1080p25" project setting but the software wont recognize the camera. If I use the "HDV 1080i25 (50i)" setting, I can capture. But does premiere know the the signal is actually 25P? Also, The audio goes out of synch in premiere, although if I play the captured mpeg in media player the synch is fine. Any input from you would be greatly appreciated, many thanks. Jon.

April 14th, 2008, 12:28 PM	#2
Marcelo Lima Regular Crew Join Date: Oct 2007 Location: BRAZIL Posts: 81	i Think... The premiere only transfer the mpeg (m2t...) video from the tape to the computer.. So, if the video is 25p, i think the video will be in that way on capture.

April 16th, 2008, 12:39 AM	#3
Jon Shohet Major Player Join Date: Dec 2007 Location: London, UK Posts: 277	thanks Marcelo. I Know that the v1's 25P signal is 25P wrapped in a 50i form. I'm not sure I understand the practical implications of that if I want to edit in a 25P timeline. Do I need to do anything to the captured mpeg file? Should I capture in a 50i project and then re-open the files in a 25p project? Also, has anyone who is working with the v1 and premiere experience these audio synch problems which I mentioned before? Sorry if these questions seem basic, but I can't seem to find any answers from sony or adobe. most of the information out there seems to revolve around 24P workflow and not the PAL version. many thanks, Jon :)

April 17th, 2008, 04:41 PM	#4
Marcelo Lima Regular Crew Join Date: Oct 2007 Location: BRAZIL Posts: 81	Thats what i said.. I think the way the video go to the pc (by firewire) is the same.. For example. Today i captured an DV 4x3 video in 16x9 project.. the video got in the same way.. So i think, you can try to capture on the way that works and you import on right project settings... another tip is try to find an software which gave you the information about the file... (or going on proprieties on premiere) to see the technical specs of the video file.. and there you can see if the video is ok...

April 22nd, 2008, 01:39 AM	#5
Jon Shohet Major Player Join Date: Dec 2007 Location: London, UK Posts: 277	Hi guys. I'm still looking for a more definite answer. I'm surprised this is so complicated. All I want to do is to edit my videos in Premiere in a progressive timeline, so I don't end up with interlacing artifacts when applying effects (like the ones that happen when you stretch a clip's duration in an interlaced timeline). The clips I capture in a 1080 50i project do not need rendering. If I insert the clips into a 1080p25 projects, they need rendering. Obviously Premiere does not recognize the v1's 25P as anything other then regular 50i footage. If the source signal was originally progressive, and just written as interlaced for capture\edit compatibility, why can't I find a simple solution to "reverting" the footage back to 25p, now that Premiere has the ability to edit in that format? Doesn't anyone have an answer? Help, please? thanks again, Jon.

April 22nd, 2008, 02:15 AM	#6
Harm Millaard Trustee Join Date: Aug 2006 Location: Rotterdam, Netherlands Posts: 1,832	There is nothing complicated about it. The camera records 50i. That is the project setting you should choose. If you record interlaced, it will be A0-A1-B0-B1-C0-C1-D0-D1 etc. 50 fields If you record progressive, it will be A-A-B-B-C-C-D-D etc. 50 fields In both cases the tape will contain 50 fields, progressive just happens to repeat the first field, whereas interlaced contains different fields. This only applies to PAL 25P, not to NTSC.

April 22nd, 2008, 03:03 AM	#7
Jon Shohet Major Player Join Date: Dec 2007 Location: London, UK Posts: 277	Thanks Harm, but the way I understand, the V1 will always record the signal interlaced as A0-A1-B0-B1-C0-C1-D0-D1. The difference is that in the 25P setting it will scan the image progressively, so that A0 and A1 are captured at the exact same time, as opposed to regular interlaced scanning. The A-A-B-B-C-C-D-D method was the way the PD did progressive, throwing away resolution to achieve the progressive look. The V1's progressive is supposed to be "true" progressive scanning. Am I wrong on this? I plan on mixing V1 footage with stop-motion animation captured with a DSLR, so I really want to be able to edit in a progressive timeline. In my experience with editing SD in Premiere, working in an interlaced timeline will always introduce interlacing artifacts when applying effects and especially stretching a clip's duration, even if the source footage is progressive. I was hoping that there is a way to "reassemble" the V1's "25P-50i" back into proper 25P without re-encoding and re-compression. If you have any more thoughts on this I would really appreciate it.