1080i50 progressive or interlaced

Hi i have imported some 1080i50 footage into final cut that I would like to edit.
The film that I am editing is going to be shown on a large LCD screen.
I would like the best possible quality so would I be best using the progressive scan or interlace option when exporting my film onto DV

so we're talking about 1080i50 and DV tape ... HDV then, yes?
and you will be playing the footage onto the big screen LCD using an HDV camera or deck? if so, then you will get the best quality if you export it out in the exact same quality / format that you imported it in. if you brought this footage in as HDV 1080i50 then you should edit and export it natively as HDV 1080i50 and put it back to tape as the same. unless your playback tests with raw footage played directly to the screen have already proved that it will look nasty then let the camera/deck/screen handle it.

Similar Messages

Can Premiere CS5 tell me if a clip is progressive or interlaced?

Is there some way to tell from within Premiere Pro CS5 if a clip (e.g. in my project window) is progressive or interlaced? If not, is there some other tool that will? Windows Explorer (I use Win 7 x64) will give me the frame dimensions and rate, but not I or P. Thanks.

In the summery you can read the field order of the sequence. That does not automatically mean its the same as the clip.
If you select a clip in the PROJECT PANEL, then the Export Settings summary will show the source details for that clip and not a sequence, because no sequence is selected at that point.

Just when I thought I new how progressive and interlaced are working....

Hey everyone.
I thought I new the difference between progressive and interlaced but I've still got a few questions. For the most part... i get it. Progressive is like 1 solid picture. Interlaced breaks up the picture into interlaced lines and 2 fields, odd and even . Great, that much I've got.
Here's my issues.
This is actually a compressor question but it starts off with Final Cut.
I shot some footage on Mini DV NTSC 29.97 interlaced.
When I edit it in Final Cut things look pretty good. I see a little interlacing in the preview window but that's ok, it's the preview window. I know there is a filter to de-interlace my footage but what is the option in my sequence settings of Field Dominance? There is an option of field Dominance- Lower, even and None. Lower and even I assume deal with interlacing fields. I assumed none meant progressive. What's the point of needing a filter if I can change the field dominance within my sequence settings? Does it do the same thing?
If I export this footage to compressor I use the H.264 codec from inside compressor.
I noticed that I can turn the Frame Controls tab of my setting on. I then have access to the resizing controls. Resize Filter... not sure what that is. Then Output fields. I change that to progressive. Which I assume deinterlaced everything... but then there is another option right below that to Deinterlace....? Didn't I just do that by saying their are no fields? On a final note after it exports and I go to look at the .mov... the footage is still interlaced.
One last thing with compressor. The above issues are all part of my setting inside of the inspector for the actual "codec" i have attached to the project. If I mouse click on the project itself... not the settings of the codec but the project itself, the information inside my inspector window changes. Now instead of Codec Settings I have A/V Attributes... there is an option there for Native Field Dominance? Which one do I change? How many field dominances are there? I have 1 in Final Cut another 1 in my AV Attributes of my project in compressor and a 3rd on in the codec settings.
I hope these questions make sense. They are confusing issues to me so I'm not quite sure how to ask them.
Thanks a lot.
-Drew

It's not surprising that you're confused. It's a pretty confusing subject. Hopefully, I can help you get some sense out of it.
Most of your questions stem from not quite understanding the definitions of "deinterlacing", "progressive frame rate", and "field dominance". Let's start with the last since it pertains to your first question.
When you have interlaced footage, you have 2 fields (as you noted) per frame. One field is drawn on the Odd (or Upper) scan lines of the TV. 1,3,5,7...down to 479. The other field takes the Even (or Lower) scan lines: 2,4,6,8...480. Together they are woven into a single frame.
The field dominance in your sequence settings determines which field is drawn first. DV and NTSC in general is Lower field dominant and if your footage is DV, you should not change this. Interlaced HD is typically Upper field dominant. Again, under most circumstances, this should not be changed. What will likely occur is a "tearing" of the image in movement, particularly noticed in pans or fast action. None draws each line successively which is how progressive footage needs to be interpreted.
However, progressive does NOT mean deinterlaced. Nor does deinterlaced mean progressive. If you use the deinterlace filter in FCP on your DV footage, you merely remove one field from your footage and REPLACE it with a copy of the field you kept. In other words, if you set the deinterlace for Upper, then the clip will copy the image in the Lower field and paste it into the Upper field. The footage will still be interlaced.
In Compressor, changing the Output to Progressive in the frame controls will make your interlaced footage progressive. This should always be done when the final viewing medium is a computer. You see, computer monitors always display thing progressively; they have trouble with interlacing frames. They are not built like TVs. If going to TV, then you want to keep it interlaced (unless you're going for the progressive look), as that is how standard def TVs are designed to view video.
The deinterlace option in Compressor is the same as the filter in FCP, but as you know now, that's not the same thing as making a file progressive.
Finally, the AV settings for the clip you placed in Compressor are the same as the sequence settings in FCP. They help the program determine how the file should be displayed. If you have DV footage, and you switch the dominance in that setting or in FCP, then you risk having your footage look jittery and generally no good.
I hope this clears things up for you a bit.
Andy

Scan mode when exporting - progressive or interlaced?

This may be a dumb question but I did a search and couldn't find anything definitive.
I have large uncompressed quicktime files that I need to export with the DVCPRO codec down to a file I can then use.
What's better to use as far as the scan mode? Progressive or Interlaced? And what's the difference between the two?
Any insight into this matter would be really helpful.

In layman's terms...
Film is Progressive.
TV is Interlaced.
Computer monitors do not show interlaced material in its true form... that is with a 'gun' zooming down the screen showing one field and back up the screen showing the other 60 times a second, as in a TV.
If you really want to see what progressive material will look like you need a progressive monitor. If you really want to see what interlaced will look like you need an interlacing monitor (broad generalization, but kind of true... I mean, you can get a good idea what progressive will 'look' like on an interlacing monitor, but you won't get a good idea what interlaced will look like on a PROGRESSIVE monitor).
SO...
What YOU really need to decide is 1) what type of LOOK you are going for... smooth 'reality' look of interlaced, or film-ish look of progressive, and 2) where you will be presenting this work... if it is for the web, realize that 90% of the monitors will be progressive in nature.
Don't be AFRAID of interlaced material... just use it for what it was intended for use with... er... in which it was intended to be used... er... well, you should get my point by now.
Good luck,
CaptM

Mixing progressive and interlaced in timeline.

I am video recording a pageant this weekend. I was planning on shooting my Panasonic Ag-HMC150 at 1080i60. My b-roll cam is a Canon Vixia HG21 which only shoots at 1080i60, so I figured I'd just go interlaced on Panasonic as well. I don't need a film look or anything, so the video look for this live pageant is fine for me. However, now I have a friend who will be shooting with me as well. He will be roaming on stage getting shots of the girls exiting/entering etc.. He is shooting on a 7D, which to my knowledge only shoots 1080p24/30. I do not want to go the 720 route with the Panasonic or 7D. I guess what I am asking is it ok to mix progressive and interlaced video in FCP? My sequence shooting my two cams interlaced will be Pro Res 422, upper field first, 1920x1080. I guess I am curious if anyone has mixed the two types of video together before. Maybe I should go 1080p30 on Panasonic to match the 7D and just worry about deinterlacing the video from the HG21, even though deinterlacing still won't make it progressive. Another thing I considered was I will be doing a lot of quick panning and zooming, so to me it made more sense to go 60i verses 30p, for smoother motion and reducing any chance of strobing at the lower frame rate.
Thanks for the help.

If I had the ability to test them before the event, I would, hence the question. I will not see him until Saturday when he shows up with his 7d, and my HMC150 is out being used for another project right now.
I guess what I need to know is this. I am going to have 2 extremely long interlaced files, and 1 extremely long progressive file. After I convert the interlaced stuff to Pro Res in FCP (log and transfer) and convert the progressive h.264 mov files to Pro Res from 7d in Toast 10, I will start my edit in FCP. Because I need to turn this around into a DVD quickly, I am wondering if field dominance should be set to none, or upperfield first? Like I said, this is all going to DVD anyways so I am practically throwing away half of the resolution anyways.

How can we transform a video from progressive to interlaced with final cut?

How can we transform a video from progressive (720x1080 50p) to interlaced (PAL) with final cut pro???????
The video is taken with Sony EX3

Hi Nick
Sorry but your first link says +"The file you are trying to access is temporarily unavailable."+ ... but tell me, are you viewing these interlaced encodes yourself on an interlaced monitor (eg are you burning them to disc and viewing on a TV) as they are meant to be seen, or are you just playing them back from file on your (progressive) computer display?
By the way, I did manage to download your source file and encoded it here. Looks ok to me ... in a addition to the instruction above, I also changed the Field Dominance in the Encoder > Video Format tab to Top First (it defaulted to progressive due to the progressive source file).
Let me know if that helps
Andy

DSLR Progressive in Interlaced timeline

Hi all
This one has me stumped.
I need to deliver a interlaced project/file to broadcaster,
problem is it was shot on Canon 5D which is progressive,
all looks good on my interlaced monitor if the shot is static,
but everytime it pans or tilts(any movement) I have bad problems with jittering image because of this progressive in a interlaced timeline.
Is there any way that I can avoid this problem in the future on my interlaced timeline?
Is it a question of tracking instead of panning and tilting, is there some software that can fix this or maybe a work around, because my workflow will not change.
Sad for me , but DSLR 5D is becoming more popular as apposed to the broadcast camera's cos they are cheaper , but they only do progressive footage!
Anyone that can help, thanks in advance.

If you open the source files in QT do you see the same problem?
I have had issues with the 550D when panning and tilting with lots of motion that has produced similar results to what you describe. I presumed it was operator error because some of the footage looks great and some doesn't. I am starting to think the camera struggles with full HD at frame rates under 30 because locked-off footage doesn't have the same problems.
Have you considered editing in a progressive sequence that matches the source footage?
At the end make the final deliverable interlaced in Compressor.
We use this approach for delivering spots that need to be interlaced.
I would do a short test with a portion of the potential problem areas to determine if it is interlacing related or in the source footage.

How to edit progress with interlace in FNC

Hello,Client shot majority XDCam 1080i/50, however one important disk is shot 1080p/25 with canon 7d, and motion doesn't look good when the clip is brought broadcast, (like the same progressive frame is repeated and it flickers)...Does anyone have a workaround that will help with this footage?
Interlace footage I edited in a different setting project XDCAM-ex50i (upperfield),and edited footage of
the project progress app 422. Then I do a master project isAspec ratio: HDTV 1080i, upperfield, compress: 422 apple progress. After the film was broadcast like same shaded?????

Now have all edit finish, not each convert file from the first be: (

Importing and handling progressive (non-interlaced) video...

Hi, have searched around and can't quite find the answer to my problem so I hope somebody can help...
Ive recently aquired a Sony TRV 900 (3ccd) which has a progressive shooting option. Apart from a strange semi-strobing effect on that sometimes occurson fast moving objects this option generally seems fine in good light.
I can import into Final Cut Express (v1) ok, and when I view the clip frame by frame (with the arrow keys) every single frame is clear, crisp, free of jaggies etc.
As soon as I play it back (either as a clip or in a sequence) it appears to be lower quality somehow and there is lots of nasty aliasing or jaggies. Pausing restores the image quality back to normal.
Ive messed with various options available when putting the browser into list view. (PAL or square ratios etc). Even tried exporting a final cut express movie, to view in Quicktime but the quality never matches that of a frame by frame playback in FCE. The exported versions if viewed frame by frame lack also lack the higher quality.
I cannot find any sort of interlace or field options during the import stage but as my 'stills' are great I assume it's either the preview playback or the rendered export at fault,but it's driving me pretty crazy! lol
Even though footage may end up on a dvd at some point (ie. interlaced, right?), I would still like progressive versions to create web versions etc.
Am I completely missing the point here or something?
Hope somebody is able to shed a little light here for me?!
Thanks in advance...

As far as i know, Final Cut Express (at least the version i've used which is version 2) assumes you are working with interlaced video and that is that. In Final Cut Pro there is the option to work with progressive footage, but i think FCE just assumes you are using interlaced, and doesn't allow you to change that.
The way you are describing it, it does sound like it is playing progressive footage when in an interlaced mode. A similar thing happens when you play interlaced footage in a progressive mode. It looks absolutely fine when you look at a single frame, but once playing it has lines and artifacts around edges.
I'm not sure if there's anything you can do about that. I'd like to be wrong though.

Best workflow for progressive and interlaced video.

I'm making a video that will go to the web and may end up on television (SD PAL) Should I shoot progressive for the web or interlaced for broadcast and deinterlace later. Is it easier to de-interlace than RE-interlace - assuming the latter is possible.

Both are possible, and neither difficult. What matters more is the "look" that you want. If you shoot interlaced (60i) it will have a "Video Look." Progressive was designed to look like film, particularly 24p. 30P is kind of a middle ground between the two. Shoot some tests and see which appeals to you.

AME CC renders AE projects progressive (not interlaced)

Hi folks,
we updated to CC 2014.2 last week and are now stuck without fields - and as a broadcaster broadcasting 1080i we desperately need interlaced files!
Here´s the detail:
For a quick demonstation I created a simple AE project (CS6) with a blue bar rotating around the center.
This same composition is opened in AME CS6 and in AME 2014.2 and rendered with the identical settings:
This is the result from AME CS6:
This is the result from AME CC 2014.2
During the last week we tried everything to convince AME 2014.2 to render in fields - but we didn´t succeed...
The only workaround is:
open the AE composition in PremierePro
interpret it as "upper field"
place it into a sequence
send this sequence to AME
Then AME renders it interlaced...
Please note
I´m not talking about interlaced or progressive videomaterial but about the field handling of AE animations itself in AME
under "Quelle/Source" it says "progressive", but you can´t change the interpretation on a AE composition
in AME CS6 it says "progressive" as well but renders out fields
we tried this with several different projects and compositions on different computers (PC and Mac)
scary: identical sources with identical render settings produce different files in AME CS6 vs. AME 2014.2
it´s not just the field/progressive thing - mp4 files from AME 2014.2 are half size than from AME CS6
Thanks for your help - we really need our fields back... ;-)
Best regards
Andreas Schletter
Germany

I just ran a test and here's what I found.
Rendering from CC 2014 using the Render Cue and separating fields in the Project Panel gives you an interlaced file. Rendering from the AME and using h.264 you do not get an interlaced result even if you check the separate fields box. I I also tried Jpeg2000 quicktime from AME with the same result... no progressive render. I even tried doubling the frame rate in the AME, again no progressive render. The only way to get a progressive render in the latest build of the AME is by setting the comp frame rate in AE to double the standard frame rate. In your example 50 fps.
Here's how I test for interlacing.
If the footage is interlaced then there will be different positions for your blue bar for each frame if you drag your progressive footage into the new comp window, verify that the comp is the same frame rate as the footage (25 fps in your example) and that AE is properly interpreting the footage, then double the comp frame rate. if you step through the comp one frame at a time and each frame is different then you have interlaced footage but it is interlaced without the empty scan lines. After Effects has tried to fill in these scan lines as long as I can remember.
Looks like this is a bug. I'll file a report and suggest you do the same. In the mean time, if you have to use the AME to render your deliverables then the workaround is to double the frame rate in the comp before adding it to the cue.

Progressive to Interlaced: Give Premiere (CS6) Double-Framerate?

Given some available footage at say 50p, can Premiere make use of all those frames in the logical way to render "25fps interlaced" meaning 50 fields per second, even and odd, by taking alternating fields from alternating frames of the 50p?
I see from http://library.creativecow.net/articles/solorio_marco/interlacing_progressive_footage.php that After Effects does that exact thing.
But can Premiere CS6 do the same? Like if a 50p clip is placed on timeline of a "25fps-interlaced" Sequence?

I don't know the internal workings of how PP would make the conversion, whether it takes one field from each frame, or drops every other frame and takes both fields from the same frame. Certainly the former would make more sense.

How can I determine if certain footage is interlaced or progressive?

Hi everyone,
I shoot and edit my own ski/snowboard films every year. I use a Sony HDV V1U. When filming, I constantly switch between 30p and 60i depending on the shots. I do this because 60i can provide smoother slow motion in post. Problem is, when I am editing the footage, it is extremely difficult to tell what's progressive and what's interlaced. My computer monitor, like all, is progressive, so interlaced footage looks just like 30p. One way I can tell is by adjusting the clips speed to slow motion, then judging by how Premiere handles the frame blending, I know what it is. But that is not practical for a massive project. A simple solution would be preveiwing on an external monitor, but from what I have read you cannot stream HDV back to a camera from the timeline, and I do not have money for a special capture card.
So my question is, is there any way to playback HDV on an external monitor (my TV or camera LCD) without a special capture card, or is there another easy way to determine 60i from 30p on Premiere's timeline? Thanks.
Here's my specs:
Premiere Pro CS3
Sony HDV V1U camcorder
Windows vista 64bit
Intel quad CPU Q9550 2.83 GHz
8 GB ram
Nvidia GTX 260 graphics card

The problem is the files are not all seperate. In one single file of 45 mins of HDV footage, there is a mixture of 60i and 30p, but the computer will always think it is 60i. I have been filming this way for years, and mixing the 2 record modes is definately the way to go. In my past projects, I was working with DV so it was not a problem.

Quick interlace/progressive question

Not EXACTLY FCP related, but I know there's a lot of professionals out there who might be able to answer this:
I know there's been several threads about the difference in viewing on your computer monitor (progressive) and an NTSC monitor (interlaced). I was wondering, though, about HD monitors/TVs. Are all HD monitors/TVs progressive, or are there interlaced ones. I shoot 60i (on a Canon XL2, SD) and some of the videos are displayed on a Sanyo DP26746 "Integrated" HDTV. Now, the manual says that the scanning format is 720p (the only one listed). Not my choice in monitors (my boss bought it even though he knows I'm shooting SD). Now it just looks like I'm playing it on my computer monitor.
So here's my FCP-related question:
Anything I export (no matter what compression) will not look like "video" will it? I mean, look like it was taped before a live studio audience, not filmed...the way "The Cosby Show" looks versus "Cheers". Is this HDTV just a big computer monitor?
BTW, my friend has an HDTV at his house with digital cable, and the SD content on the local HD channels look pretty good (better than regular SD...obviously not HD quality, but better than over-the-air stuff). Why doesn't my SD stuff look a lot better on this Sanyo HDTV? Is it related to the progressive vs. interlaced situation?
And no, Shane and Jim, I'm not trying to convert progressive to interlaced in case you were going to bring up this post.
Thanks all. Sorry for the long post.
Jonathan

I think I posted this on the wrong forum...might try the Compressor forum. I guess I'm looking for the best way to export if I'm presenting on a progressive monitor.
Thanks though.
Jonathan

Graphics for Interlaced & Progressive Video.

I had started an earlier thread addressing this issue. The answer I received didn't achieve the results I was looking for so I presented the information a little better. Thank you.
I am having interlacing issues producing graphics for a video destined for both the web and broadcast.
The video's main output will be interlaced on a DVD, the project uses mixed sources both progressive and interlaced. Graphics produced for this piece have been exported from motion with field rendering on.
Approval for this video is done over the internet on youtube. I must deinterlace the video so that it may be displayed on youtube correctly. The problem is that the graphics in the video get ugly stairstepping in them due to the deinterlacing. Deinterlacing is done through compressor's frame controls.
What is the best method for producing graphics for a video that is destined for both TV and the web? Should I be working in both a progressive and an interlaced timeline (exporting graphics either interlaced or progressive for each timeline). Producing only a progressive video is not valid in this case because we want the interlaced video assets to maintain their interlacing for television. Is there something I can do with my interlaced timeline/video to make the graphics look good when changed to progressive?

The methods provided in the previous thread ARE the best methods. That you're having issues is indicative of something else perhaps. It would be best if you could provide a sample of the two clips and the issue you're seeing. Also, a complete accounting of the footage and graphics would help as well. Here is an example:
+Video is DV/NTSC 720x480 29.97, lower field dominance.+
+Graphics are Text. Font Arial bold, 28 point in Boris Title tool.+
+Compressor settings: DVD Best 90. Frame controls: Deinterlace (better), output progressive.+
+Here's a pic of the stairstepping I'm seeing after Compressor [provide link]+
Andy

1080i50 progressive or interlaced

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