I'm about to start editing a programme that is going to broadcast. The final output specs are HDCAM SR - 1080i/25.
The programme will be shot on the Sony NEX-FS100E entirely against a green screen. I will then edit an assembly in FCP 7, and then export each shot for keying in after effects. Once each shot is keyed, each shot will be exported as a PNG or TIFF sequence to an animation company who will add animations to the stills.
What I am slightly concerned about is that the footage will be shot and edited as interlaced footage. When I export the PNG sequences for the animation company, presumably the PNG images will have interlaced fields in them, but when the company starts to animate over the stills, the animations will be progressive. If I receive the sequences back as progressive but need to export the final edit as interlaced, how can I achieve this? Also, will all this back and forth effect the interlaced live action footage that is comped into the animations?
PNG allows to export as Interlaced, so when you export your still sequence, make sure you keep them as "Upper ".
The animation will look less floyd than the video.
The same than if you were putting a p25 animation on top of a i25 movie.
[Michael Freedman]"If I receive the sequences back as progressive but need to export the final edit as interlaced, how can I achieve this?"
You won't receive the stills as Progressive.
You will receive the same stills that you sent with the original interlacing on.
If you import them to FC or AE, make sure that you check them as Interlaced (Upper) and you edit them on an Interlaced sequence.
When you export you will get an interlaced movie (i25)
[Michael Freedman]"Also, will all this back and forth effect the interlaced live action footage that is comped into the animations?"
No if you do as I said and if you keep consistent the field order.
There is no de-interlacing nowhere.