Apple Shake 4 - Manual (Page 191)

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Importing Video and Anamorphic
Film
Shake provides support for nearly any video or
anamorphic film format in use. This chapter covers the
parameters that must be set up—and the special
considerations given—for these formats.
The Basics of Processing Interlaced Video
Although Shake’s origins lie in film compositing—the processing of high-resolution,
non-interlaced (otherwise referred to as progressive-scan) images, Shake can also create
composites using video images from nearly any format, standard definition or high
definition. The individual frames of image sequences may be interlaced as well as
progressive-scan, enabling Shake users on any platform to work with video clips. On
Mac OS X, Shake supports QuickTime, which allows for an even wider variety of video
clips to be imported from applications such as Final Cut Pro.
When you read interlaced clips into Shake, there are a variety of parameters that you
must set to ensure that the image data in each field of every frame is properly
processed. If these parameters are incorrectly set, the result may be undesirable motion
artifacts that are not apparent on your computer screen, but that leap out at you when
the exported composite is played back on a broadcast video monitor.
Preserving, Eliminating, and Creating Interlacing
When you process interlaced video in Shake, you have the option of either preserving
both fields from every frame for interlaced output, or eliminating the interlacing
altogether and outputting progressive-scan clips. Additionally, you have the option of
taking non-interlaced source media and turning it into an interlaced clip for use in an
interlaced project.
Each of these processes requires you to set up parameters within each FileIn node, as
well as those found within your script’s Globals tab, in specific ways to insure proper
rendering, and to maximize the quality of the processed result.