rendered animation looks "interlace" when burned t
Moderators: Víctor Paredes, Belgarath, slowtiger
Nope. Only CGI animation is on ones, with some exceptions. Disney's average of drawings is said to be about 18 per second.
Please don't mix up framerate with number of drawings. The framerate is always a fixed 24, 25 or 30 fps. The animation however can be everything from 1 drawing per second to 24 (in film). Much anime is done with only 4 to 6 drawings per second. Slow movements can be done with few drawings, fast actions need to be animated on ones, even faster actions are hinted with smears or motion blur or multiple phases in one drawing.
The most important difference between framerate and drawing frequency is: framerate is fixed, number of drawings is flexible.
Until 1980 nobody cared about framerates. TV had its two standards, and film was the same all over the world. Only with the advent of computer screens people noticed that some material looked better than other material on it, due to new framerates like 15 or 20 or 60 fps, different patterns of refresh and interlace, and different power of graphic cards.
The best way to preserve as much quality as possible is still the old Telecine system. A film is projected at its correct speed, the (then analogue) video hardware transfers it to tape and does the framerate conversation during this process. Film frames which happen to be shared between two video frames got distributed equally or balanced, so in the end the film ran at the correct speed, but if you watched the video tape frame by frame, you noticed that every nth frame was a double exposure of two frames (have a look at your old NTSC VHS video tapes of disney material). A slight loss of sharpness was the only compromise of quality.
Today, digital hardware is used exclusively. In the attempt to always get sharp images, the 3:2 pulldown was invented (to get 24 fps film onto 30 fps television). The resulting frames are sharp, yes, because always one full frame is transferred into one other full (half-)frame. But! Because the frames are repeated in an uneven pattern (film frames ABCD will be video half-frames AABBBCCDDD), all movements get uneven. A person with a trained eye will notice this as a constant stagger, visible in all camera pans or moving vehicles. It gives me headaches.
Fast movements are always critical in any system. You'll notice the staggering of frames in cinema during a camera pan, you'll notice a certain jerkiness of movement if you watch sports on a digital screen. Animation is especially prone to artifacts because the fast movements come together with very defined, high contrast edges. It doesn't help that no video compression codec deals gracefully with animation.
Some tricks may help, like motion blur applied to fast scenes which reduces visible interlacing artifacts. But grading down your precious material shouldn't be done.
The recommended workflow is this: create and render your material in the best framerate you'll need: 24 fps for film, 25 or 30 fps for TV. Render this into a non-interlaced format. This will be your master from which you can create different distribution formats in a video application: a smaller 15 fps version for internet, or something for DVD.
Please don't mix up framerate with number of drawings. The framerate is always a fixed 24, 25 or 30 fps. The animation however can be everything from 1 drawing per second to 24 (in film). Much anime is done with only 4 to 6 drawings per second. Slow movements can be done with few drawings, fast actions need to be animated on ones, even faster actions are hinted with smears or motion blur or multiple phases in one drawing.
The most important difference between framerate and drawing frequency is: framerate is fixed, number of drawings is flexible.
Until 1980 nobody cared about framerates. TV had its two standards, and film was the same all over the world. Only with the advent of computer screens people noticed that some material looked better than other material on it, due to new framerates like 15 or 20 or 60 fps, different patterns of refresh and interlace, and different power of graphic cards.
The best way to preserve as much quality as possible is still the old Telecine system. A film is projected at its correct speed, the (then analogue) video hardware transfers it to tape and does the framerate conversation during this process. Film frames which happen to be shared between two video frames got distributed equally or balanced, so in the end the film ran at the correct speed, but if you watched the video tape frame by frame, you noticed that every nth frame was a double exposure of two frames (have a look at your old NTSC VHS video tapes of disney material). A slight loss of sharpness was the only compromise of quality.
Today, digital hardware is used exclusively. In the attempt to always get sharp images, the 3:2 pulldown was invented (to get 24 fps film onto 30 fps television). The resulting frames are sharp, yes, because always one full frame is transferred into one other full (half-)frame. But! Because the frames are repeated in an uneven pattern (film frames ABCD will be video half-frames AABBBCCDDD), all movements get uneven. A person with a trained eye will notice this as a constant stagger, visible in all camera pans or moving vehicles. It gives me headaches.
Fast movements are always critical in any system. You'll notice the staggering of frames in cinema during a camera pan, you'll notice a certain jerkiness of movement if you watch sports on a digital screen. Animation is especially prone to artifacts because the fast movements come together with very defined, high contrast edges. It doesn't help that no video compression codec deals gracefully with animation.
Some tricks may help, like motion blur applied to fast scenes which reduces visible interlacing artifacts. But grading down your precious material shouldn't be done.
The recommended workflow is this: create and render your material in the best framerate you'll need: 24 fps for film, 25 or 30 fps for TV. Render this into a non-interlaced format. This will be your master from which you can create different distribution formats in a video application: a smaller 15 fps version for internet, or something for DVD.
You should be alright. I'm just pretty picky sometimes and the slight shifting problem isn't that big of a deal. It's noticable on professional animations as well. It's just some animations don't have it and I've been trying to figure out why. No worries, keep animating.jhbmw007 wrote:See, I just don't know enough about this subject... and I have yet to burn any of my animations to dvd. But how come when I watch something like a Disney animated film on my tv, I don't see the "interlaced" problem everyone's talking about? Aren't Disney films animated on 1's?
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Banterfield
- Posts: 138
- Joined: Tue Aug 03, 2004 10:40 pm
- Location: Colorado
I've had this problem in Vegas before. My recollection is that I was able to get rid of it by experimenting with the project properties (deinterlace method?) setting and by right clicking on the media file itself on the timeline and experiment with the stream properties settings for the video.
For the color you might try the "saturation adjust" plugin.
For the color you might try the "saturation adjust" plugin.
Dave