Render out 50i from 50p

In Avid you must create 50i project and put your 50p footage on timeline, that's all. You get true motion between fields. Same Premiere (in Premiere sequence must be 50i).

Do exactly the same in EDIUS and Vegas. Start with an interlaced project and just apply the progressive clips. Optical Flow will create the extra frames for a slower frame rate but it is not always acceptable and to me most of the time unacceptable. You need to match sample rate NOT timecode. Same number of frames as fields.

That's the last answer I got from the support one week ago.

"Please be advised that after following up with our development team, I believe that in order to render out an i50 clip from Resolve you would need to render from a 25fps timeline with the 'Field Rendering' option enabled.
Whilst I cannot comment on the exact way in which Resolve performs its processing, I believe that the behaviour you are seeing when rendering out to this format is to be expected"

But this doesn't work and I get no more answers when I ask again..
For me, rendering out 25i and getting 25p is nothing "to be expected"

Doesn't work for me. I make a 25 fps timeline, enable video field processing and drop a 50p clip into it.
Rendering with field rendering active results in a clip that shows as interlaced, upper first in MediaInfo, but it's clearly not interlaced.

Because Resolve have no support for interlace project/sequences at all.

Yeah, that horse has long been dead and beaten...

There is no automatic correlation between checking the "field processing" in timeline settings and adding the interlace flag in output (for those formats in deliver tab that support it - regular h.264 don't)...

All that "field processing" does is apply effects to even and odd lines separately in order not to destroy the original source's line-interleaved content. That's why the Fusion workaround must be done on the finished cut with all effects already applied and added as nested timeline or compound clip in a separate timeline ...

Because Resolve have no support for interlace project/sequences at all.

Yep, its interlaced support is just a partial hack not a proper one.

That's what I did.
And I got 25 PsF on export.

You basically drop 50p source into 50i project. That's it. Maybe your source was 25p not 50p.

It works in every NLE, except Resolve.

Oh no. I will switch back to AVID. Even MC first ist able to export 50i. Its a pity that I had to spend 300 for Resolve Studio.

I have the same problem. I have Fs7 interlaced footage and I have bunch of drone footage in 50p, and I cannot transcode to 50i in editor like in Avid or any other NLE. And there is no fields generated for transforms in Resolve. Any graphic I'd like to zoom I must switch to after effects. Any footage conversion from 50p to 50i I must swich to AE or Avid. This slowing down my workflow. I wish there will be proper support for interlace.

I have the same problem. I have Fs7 interlaced footage and I have bunch of drone footage in 50p, and I cannot transcode to 50i in editor like in Avid or any other NLE. And there is no fields generated for transforms in Resolve. Any graphic I'd like to zoom I must switch to after effects. Any footage conversion from 50p to 50i I must swich to AE or Avid. This slowing down my workflow. I wish there will be proper support for interlace.

DaVinci can create 25i fps from 50p fps. Read this thread better.

DaVinci can create 25i fps from 50p fps. Read this thread better.

Using Fusion is just a workaround, not a real solution.

I have used the fusion workaround and I do get an export that seems to be proper field render 50i (although I don't have a broadcast monitor to check the fields), but I used a 25p video file, not a 50p.

The only thing that concerns me is that on the cut you can see the fields of both clips (like a one frame dissolve).

Hey,

If you're on mac, check what the old but efficient app "JES Deinterlacer" does for free...
Yeah, 32 bits only, but, does the right thing the right way it has to...

Hi everyone, I switched to avid for some time because of this issue.
Now I would loke to go back to resolve.
Has this issue been fixed?
Can I work with UHD 50p footage in a 50i HD timeline and see and export the format correctly?
Are there any flaws in doing so?
Does is affect stabilization of clips for example?
Are ther original HD clips stabilized and interlaced AFTER the effect is applied?
(In Premiere this does not work for example - thats one reason to go back..)

And whats the recommended workflow?
Working in a 50i timeline, or working in 50p with a hardware downscaler for preview and then exporting 50p timeline as 50i?

There is no 50i.
For clarity, the EBU calls it 1080i/25, while progressive would be 1080p/50 (see here: https://tech.ebu.ch/docs/techreports/tr005.pdf).
Now, in DR you would use a timeline in p/50 with footage in that format and tell it to generate I/25 in final render. It works fine here.

Thanks Uli!
So you are using a hardware interlacer like decimator md-hx to preview interlaced footage?
I am getting sooo much interline twitter when sharpening or on drone footage, so I definitely need to see it while working on the timeline.

That would be by hardware only, but we don't use it.
In the rare cases where clients are still asking for interlace, we just render it out and nobody has complained yet.
Drone footage can have a different issue: https://www.neatvideo.com/blog/post/dro ... -and-noise

Thanks Uli!
So you are using a hardware interlacer like decimator md-hx to preview interlaced footage?
I am getting sooo much interline twitter when sharpening or on drone footage, so I definitely need to see it while working on the timeline.

You don't have to make it interlaced if there is no such a need. It can be progressive if it's still acceptable by the client (there is a lot of progressive material sent over interlaced chains), but then as you said, you need just interlaced monitoring to make sure it doesn't flicker. You need to soften it vertically.
This was a typical problem when designing menus for DVD. You about always had to blur it a bit to avoid flickering.
If you have progressive source don't create interlaced (with fields) masters, unless it's mandated (or you have 50p and want to preserve motion). It's 100x better to keep them progressive and just blur a bit so they work well in interlaced transmission chains.

I am afraid is almost always required from german broadcast stations for example: XDCAM HD 422 1080i

Just found a new profile on their website:
https://www.ard.de/die-ard/ARD-ZDF-XDF- ... ks-100.pdf

So is it allowed to send in XAVC-L in 50p and is it still needed to make shure that no interline twitter occurs when convertet to i?

They seems to prefer (as new option) 50p masters now.
If you have 50p source then not sure why you are asking about 50i export and making it all "difficult" for no reason
You just export to this new forma and all should be fine.

It's quite interesting to see that they are switching to 50p as not long time ago they were using XDCAM 50i (eg ARD_ZDF_HDF-01a format).
Unfortunately Resolve most likely (90%) won't be able to export any of these formats. MainConcept plugin may help, but you would have to ask them if these profiles are provided in the plugin.
You need eg. Premiere as they have ZDF verified presets (through MainConcept engine).

You either send 50p master according to the new profile or older 50i profile (you can make sure it doesn't flicker, but quite often this is not an issue unless it's very bad).

A bit of history, which may explain a few things:

When HD TV was introduced, the public broadcasters in Germany made a lot of tests with blind viewing by different audiences. Because of bandwidth restrictions at the time, they compared 720p/50 to 1080i/25 only, since they wanted to keep the temporal resolution of 50 positions per second for sports. In the end, they decided to go for 720p/50, since a majority of the audiences preferred that over 1080 interlaced. Partially this might have been caused by interlace flicker. As we all know from Steve Yedlin, resolution is not everything.

Private broadcasters generally went for 1080i/25.

Sources in 24p, like movies, were sped up to 25p and every second frame in 720p/50 was just a copy to keep the look just like in cinema. A lot of fiction is still broadcast that way until today, even with the move to 1080p/50, even if generated by digital cameras.

Those who still broadcast 1080i/25 are using PsF (progressive segmented frames) for such content. Hopefully, interlaced is finally on its way out for good after about 100 years…

Hopefully, interlaced is finally on its way out for good after about 100 years…

Thanks for the explanation, thats what I hope as well!

The historical archives will have interlaced content for a very long time! We will still need to deal with it occasionally!

Yes, but this is different than using interlaced chains in times where progressive transmission is not an issue anymore. Broadcast is ridiculously slow with those changes as they involve a lot of $ and time in development.
Interlaced content can be easily made progressive and transmitted over progressive chain. Not a problem, so we can easily deal with archives. What is crap is that after so many years it's still required by many stations. Phones shoot and display 8K and broadcast still uses interlaced and in some cases SD