Deinterlacing BMD DNxHD footage

I am currently running 1080i footage through a BlackMagic ATEM Television Studio, and taking 1080i output into a BlackMagic HyperDeck Shuttle 2 via SDI, which is set to record to a Quicktime DNxHD format.
Unfortunately, if I edit this footage in Premiere Pro CS6 (using the mac version FWIW), I can not for the life of me get it to deinterlace.
I've tried setting the Field Options on each clip to "Always Deinterlace." I've tried exporting to explicitly progressive settings. I've checked the "Render at Maximum Quality" box when rendering.
If I run the raw footage directly through Handbrake and set to Deinterlace there, it comes out right. If I run the final Premiere Pro footage through Handbrake and set to Deinterlace, it comes out right. I just want to know why all of the settings in Premiere Pro designed to convert interlaced content to progressive content are failing to do their job.
Am I missing something?
Thanks for your help.

Step 1:
Export video to YouTube 1080p settings (or manual H.264 settings with 1080p output).
Step 2:
View video. Observe interlacing lines everywhere.
Step 3:
Turn on deinterlace filter in VLC. Interlacing lines disappear.
This would be one example of the non-deinterlaced output, which is pretty evident the minute you turn on 1080 streaming:
https://www.youtube.com/watch?v=uaWVvv40kaw
I suppose it's possible the Premiere is doing some deinterlacing, but doing a phenomenally poor job of it.

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DNxHD footage rejected by FCP but accepted by QuickTime

From Sony Vegas 9e on Boot Camp > Windows 7 with latest free ("LE") DNxHD codecs installed, I rendered a 720p50 project to DNxHD for roundtrip to FCP and back. In Mac OS "Leopard", with the same version of DNxHD installed, the rendered footage played successfully in QuickTime player, it even looked correct.
BUT in FCP 7 just gave the error "Codec not found". Tried it on another Mac machine with "Snow Leopard" and FCP 7 and fresh download of same DNxHD codecs but got the same problem.
Someone else encountered the same problem (so it's not just me!) but their issue was not resolved:
discussions.apple.com/thread.jspa?messageID=11619653
That person was using entirely different settings to myself, so it's unlikely to be those at fault.
Experimenting to get diagnostic information:
Dragged the DNxHD clip into the FCP timeline, despite "Codec not found" error. It displayed the audio waveform but would not play or do anything, even when the video (only, not audio) was deleted from the timeline. The preview just showed red. I tried different Sequence Settings but to no avail. On the other hand FCP (right-click the media in browser ) correctly described its properties.
In FCP Audio/Video settings, none of the sections ("Sequence Presets" etc.) include any entries for Avid or DNxHD - should they? Likewise, tried exporting a conventional FCP-based project to DNxHD but no "Avid" or "DNxHD" options listed. Should there be?
So please what's the way to success here? Is there something I need to do to FCP to make it more aware of DNxHD? e.g. some kind of codecs-refresh in FCP? Or some special version of QuickTime needed or to be avoided? What definitely works?
Any advice appreciated.

Could be a couple of things, actually. Don't fall into the conversion trap that most editors do. If you have to convert something back and forth just to edit it, you're wasting all of your time.
First: make sure it's not some sort of permissions issue. Get info on the file, unlock it, and make sure read/write for ALL users is enabled, then don't lock it back. Try again.
Then, check the codec and all other info on the clip. Post that info. Check your Libraries/Quicktime against the info on your clip. Chances are, if you don't have FCP 6+ you don't have a lot of the HDV codecs installed. The "Apple HDV Component.component" fixes a LOT of this sort of thing.
Also- when you preview the clip in the Finder, do you get a picture? does it play? If not, you're going to need new codecs.
FCP is a PRO APP. It should be able to recognize and cut any piece of video out there. The trick is it's a plug-in architecture based on Quicktime. Quicktime is also a Plug-in architecture. If all the libraries to handle the video are in place, it doesn't matter which FCP you have, it just so happens that 6+ is the release written after a lot of the HDV codecs went live in cameras.
Hope this helps! I know not a lot of this information is public!!

DNxHD footage transcode in Final Cut Server?

I'm looking at setting up a directory watcher which will automatically transcode footage from HDV to Avid DNxHD.
Is this possible at all within Final Cut Server? It seems Final Cut support all of the codecs I have installed except that one.

The codec doesn't show up as a valid codec in the list when I try to make the custom transcode setting.
I'm doing the following:
SysPrefs -> Final Cut Server -> Automations -> "plus" -> File System Watcher -> Set up the watcher filter -> Responses -> "plus" -> Copy Response -> Transcode source to -> NO AVID CODEC in list.
Am I in the right place to be setting this up, or is there somewhere else I can make sure the codec appears?
We have set the threadsafe bit to see if that made a difference but there is still nothing from Avid in the list.
It shows up just fine in the other apps on the mac, is it an incompatibility with FCS and that codec?
Your help is greatly appreciated,
Chris.
Message was edited by: witchrinser
Message was edited by: witchrinser

No audio or video stream when importing prores or dnxhd footage transcoded in FootageStudio 4k

Before anyone says anything, I already have the most recent version of quicktime and avid codecs. I am running on Windows 8 on my PC and thought this could be my issue but I am not sure. When I transcode my GH4 4k H.264 footage to prores or dnxhd and then import the whole folder it cant read it. BUT if i import one clip at a time the clips can be read, so I thought I had solved my issue. So I started editing and saved and closed the project, and when I opened it the next day to come back to it, all the footage was offline, and it wouldnt read all of it. I have no idea what is going on and it is annoying. I was so pumped that I was finally going to have prores on my PC and then this crap. Any help would be wonderful, thanks!

Also, CS2 has a different forum http://forums.adobe.com/community/premiere/premierepro_previous

AJA DNxHD Footage, Audio Drifting

Hi there,
I got some Footage captured by AJA KiPro. It's DNxHD 1080i25 220, so says Premiere Pro CC.
It's Live Music and I need to sync it to the original Studio CD Track. I have a perfect sync point at
the beginning but as the Video goes along it goes out of sync until the end, everything is completely
out of sync.
Is there some kind of problem with the codec or fps? Is Premiere messing something up?
Any help would be really appreciated...
Thanks!

The Live Audio goes out of sync with the Studio Recording. In the beginning there is a distinct
sync point. I synced it there but when I play it back in the timeline it goes more and more out of sync.

Deinterlaced export causes artifacts in still images

When I export to Adobe Media Encoder and select the "Deinterlace" option it does a great job of deinterlacing my interlaced footage. However, any still images in the mix and they immediately pick up artifacts. Any workarounds?

Premiere is actually a horrible deinterlacer. I'd do that outside of Premiere first, and edit in a progressive sequence.

Deinterlace with sequence field

Hi everybody,
somebody told me that if I put some interlaced footage in a sequence with "none" field in the settings, Final Cut automatically deinterlace my footage exporting a progressive video.
Is it true?

deadom wrote:
I always thought that I had to deinterlace the interlaced footage before to put it in a sequence with "none" fields, to get a progressive video.
What you are doing when you put a clip in a non-matching sequence is that you are forcing FCP to render. Try it out: create a new sequence with field order "none" and drop an interlaced clip in it. The render bar will appear. Then render and export as self-contained QT movie with current settings. Open in QT 7 and hit Cmd+I. What does it say in the Inspector window?
mish

Mixing 720p and 1080i footage in a sequence

What's the best choice to edit a movie comprised of clips shot in 720p30 and clips shot in 1080i60? "Upscale and interlace" the 720p footage or "downscale and deinterlace" the 1080i footage?
Using easy setup, one has the choice to create either a 720p or a 1080i project, and when adding a clip to a sequence in this project, the clip is automatically converted to the project's format. Therefore, this is something that needs to be decided ahead of time. Or is it possible to change the project's settings after attempting to export the sequence if the result is disappoining?

All right, but assuming that I have the choice of output format (and I do), what is most likely yo result in the best overall result? Interpolating (720p output) or extrapolating (1080i)? Intuitively, I would think that interpolating is most likely to result in less artifacts than extrapolating. So on this measure, a 720p output of a mixture of 720p and 1080i footage would be more recommendable than a 1080i output.
The good news is that you are saying I can change this in my sequence at any time.

Need help transcoding h.264 to DNxHD.

So my video file is 1920x1080p 29.99 frames.
when ever i try to encode with quicktime then dnxhd i get a baaaa sound and it fails idk what im doing. any help?

P.S. For more sensible answer you need to provide more relevant information:
- How did you install Avid QuirkTime codec package?
- Can you playback DNxHD footages?
- What are your other export settings?
etc. etc.
Screenshots may help.

Progressive dvcprohd footage to dvd export - looks like youtube !

this is gonna need a compressor / dvd studio pro guru to
I have been searching the internet / forums etc etc for hours - have tried heaps of suggested settings but just cant get a good result - I am on a brand new mac pro quad core - the latest Final cut studio with all latest software updates.
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i am getting hideous stair stepping. Any small line on the screen that crosses the horizontal at an angle (ie not flat) looks awful.
The video looks like youtube. washed out - no macro blocking - but stair stepping / herringbone is off the scale-after reviewing the dvd and raw mpg 2 files both on the monitor and on a tv.
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is this a downscaling issue?
the format is set up correctly with frame rate and progressive settings matching my source
after trying the standard best quality settings and getting youtube results:
i tried: cbr 7 mbs , (its only 42 mins of video) - from my limited research on the forums it appears that cbr at a high bit rate works better for top quality dvds than vbr 2 pass - which seems counter intuitive. please correct me if i am wrong. 2 pass vbr at similar bit rates gives me no noticeable improvement in quality.
frame controls on -resize filter better
output fields same as source
deinterlace fast (i really dont know why this option is there as i am working prog all the way through
but i suspect compressor may be trying to deinterlace my prog footage?)
adaptive details on and off have bene tried
100% duration relative to source.
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i suspect a bug in compressor - i have read a few posts about similar items - have tried a few suggested settings - and they havent worked. Am considering looking at another product (bit vice / sorenson) if i cant get this resolved - but maybe i am missing something simple.
i am even reading about people getting better results through IDVD... which would indicate a compressor bug- perhaps..

Try exporting from FCP timeline to selfcontained QuickTime file first, and processing this file with Compressor. Report if there is any difference, please. I am asking because I just found similar bug considering HDV 1080i50 format.

Need help with combing/interlacing

Hi all!
My first time here!
I am having a serious dilema.
I make films using Super 8 film, have it digitized, then I edit the footage in iMovie, usually. I own Adobe Premier Pro CS4, but haven't needed as involved a program so far for my very basic editing needs.
Here is my dilema:
I made a movie for a client and the footage was (for some reason) interlaced when the company in LA digitized it for me and burned it to my hard-drive. So, my original files that I imported into iMovie are interlaced.
While working on the movie in iMovie, and then watching it on my computer or online it looked perfect. However, the client just informed me that there are "weird horizontal lines that show up on their film when they watch their DVD". Not sure if they have a blue ray player and an HD tv, but I assume so.
My question is, do I need to deinterlace the original footage and reedit the film from scratch using Premier, (and if so, how do I deinterlace the footage),
OR
can I somehow import the final film I gave my client and deinterlace that already edited version?
As a side note, iMovie doesn't give a ton of options when you export the film, so I'm not 100% sure what my settings were when i exported it, probably the default settings?
Any help anyone can give me would be SOOOO appreciated!!
Thanks in advance..

The .moi files are only indexes. The actual video will be in .mod files. These are a problem.
Some users have reported success using MPEG Streamclip to convert them to QuickTime/Apple Intermediate Codec.
Since .mod files are actually MPEG2 in disguise, you may need to get the Apple QuickTime MPEG2 Playback Component ($20 download from Apple) in order to enable MPEG Streamclip to convert them.
One other thing, don't just copy the .mod files off the memory card. You need the entire folder structure.

What to do with one 25i and one 25p file in same Timeline???

Hey!
I was bothering you with questions of how do I put 30p and 25i footage together, but things have changed. [i]HUNTREX and ANN BENS, thanx a bunch for your help)[/i]
Canon released new Firmware for its 5D MkII camera, so I can shoot 25p and 24p... But now the problem is still there!
Now I have Interlaced and Progressive footage to put together!!!!
I also decided to get Cineform NEOSCENE which converts both MPEG-2 from my Sony FX-1 HDV camcorder and AVCHD (H.264) from Canon 5D into CINEFORM-AVI...
So, to avoid mixing formats in codec part - I ended up with those AVIs!
So for the first time yesterday I imported AVI-s made by NEOSCENE from both my FX-1 25fps (1080i) Sony camcorder and my 5D MkII 25fps progressive (1080p) into my PREMIERE PRO..
Little difference in Contrast (Canon is better!!!) - but now I am left with NEW PROBLEM!!!
I have, ergo, one Cineform-AVI, which is INTERLACED, and the other Cineform-AVI which is PROGRESSIVE (both 25 fps)...
]Which Preset to choose in PPRO?
I tried with Sony's XDCAM EX 1080 25i preset - but then the Progressive material seems to have lot of flickering... Not to mention that both have YELLOW LINE above in Timeline - meaning it is not the Preset for those files, but it seems to be my best choice (regarding resolution and FPS)!
]Now, HOW TO HANDLE THOSE TWO FILES ON TIMELINE - One 25i, the other 25p?
Do I deinterlace the 25i or do something else with 25p? How? Any Tricks?
What would you do?
And what preset would you use????
Hope you'll be able to help me with this one!:)
V.

Hello again!
If it were me, I would deinterlace the 25i footage and keep the project progressive. But it does really depend on what your final output requires.
Little difference in Contrast (Canon is better!!!)
Try using Premiere's color correction tools (fast color corrector, curves, etc.) for that.
I tried with Sony's XDCAM EX 1080 25i preset - but then
the Progressive material seems to have lot of flickering.
Did you try interlacing the footage (Right click on clip, select "field options", and check "interlace consecutive frames")?
Huntrex

Matte made with rotobrush is different in output than it is in After Effects? Help Please.

I ran into this issue last night when I made a matte with a rotobrush. Everything looks perfect when I scrub through and even go frame by frame, but when I export it I get this issue where there seems to be "extra" matte that is cutting off something in the scene by putting the background on top of it (this is what the intentional matte is supposed to do, but not in the frames where it keeps showing up).
I'm using AE CS6 (trial version) with the latest updates. The source footage is h264 (originally AVCHD intelaced, deinterlaced using premiere pro before importing into after effects). The output is h264. Has anyone seen this before? and can you offer any advice on what to check?
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So far I've checked:
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Any quick help would be greatly appreciated because the deadline for the video I'm working on is tonight. (Sept 12th).

some thoughts/questions
I would...
use the original footage, no need to deinterlace first, interpret footage correctly, precomp if required. maybe at twice frame rate to compensate for the inter field movement...
though I agree transcoding to pro res makes it easier, the right set up can cope with native footage.
I would put a bright colour solid guide layer underneath to check where holes in the matte could be being disguised by the background colour.
Check for after effects nightmare premultiplication of layers and maybe change layer mode to alpha add in case overlapping edges are causing unwanted transparency.
always render out to an RGB codec as AE is rgb based, then compress in AME...
ALways work at full res, full size.
MANUALLY delete the cache folders as you can quite often be looking at old and corrupt caches.
I have ioFX cards which really help the smoothness of roto...

What directory do you put the FM8 user.dct file in Windows7?

I want to bring my dictionary over from XP to Windows7.
In XP it was under Documents and Settings\username\Application Data\Adobe\FrameMaker\8.0
Where does this file go in FrameMaker 8 in Windows?
Thanks.
Larry

Hello again!
If it were me, I would deinterlace the 25i footage and keep the project progressive. But it does really depend on what your final output requires.
Little difference in Contrast (Canon is better!!!)
Try using Premiere's color correction tools (fast color corrector, curves, etc.) for that.
I tried with Sony's XDCAM EX 1080 25i preset - but then
the Progressive material seems to have lot of flickering.
Did you try interlacing the footage (Right click on clip, select "field options", and check "interlace consecutive frames")?
Huntrex

Why are my Photoshop images interlaced?

Is that just an effect FCP throws into to make the progressive frames look like the rest of your footage, or is FCP actually interlacing my Photoshop files? I can run some tests and figure it out but if someone has a quick answer, it'd be much appreciated!

I was referring to:
"Spend some time learning what interlace means. Search it in the FCP manual, it's very good at that sort of thing.
Interlace is a very good thing - unless it's used poorly - which happens when it's misunderstood. It allows us to have very clean NTSC and PAL images with smooth movement, in very limited bandwidth."
But I'll readily admit that meaning can get misconstrued by text very easily, so no offense taken here, nor there apparently.
My initial problem was solved, but I've encountered a new one as a result.
What I'd like to is take the 1080i footage I have (six DVD set) and create a progressive video of half that size for the web (just a five minute promo). It's a bit smaller than half the source, and some scenes are cropped differently due to different needs for televisions and computer screens. I have an excellent video already working, but there are some improvements I would like to make (if it's possible).
I have two sources for the content in my video. One is the HDV camera (1080i), and the other source is the computer (Motion files, JPEGs, etc). Apart from the dissolve between the scenes, at no point is there a combination of these two sources within a frame. The scenes are neatly separated (each scene is a nested sequence).
What I want to do is deinterlace the camera footage. If I understand correctly, FCP's deinterlace filter is a line-doubler, halving the resolution but maintaining the temporal information. Because my output is half the dimensions of the source (give or take), this works perfectly for me because I'm losing that resolution anyway. Meanwhile, the scenes comprised of assets from Photoshop and the like are rendered at full resolution. To achieve this, I would think I'd deinterlace the sequences with interlaced footage, then nest the sequence in a new sequence which is smaller and without field dominance. Then, by nesting the sequences with non-interlaced assets, they are rendered at full resolution while the interlaced footage is rendered progressively because the parent sequence has been deinterlaced.
What's happening is that I MUST keep field dominance turned on in the downscaled sequence or the camera footage displays weird effects (like interlacing, but with alternating large sets of pixels rather than single pixel lines). This in turn interlaces the scenes with the computer assets, requiring me to deinterlace them as well, halving the resolution unnecessarily.
The only guess I have as to why this happens is that the deinterlace filter is being carried over to the downscaled sequence rather than already deinterlaced footage.
So, having said all that, the simple version of the question is:
How do you create a progressive video for the web from a larger interlaced version WITHOUT interlacing and then deinterlacing the portions of the video which weren't interlaced to begin with? Is it impossible to do this within a single sequence, and if so how do I combine multiple exported sequences into a single video for the web? Unfortunately I need to be able to cross dissolve from each scene to the next, so can I do that using Quicktime Pro, Compressor, or some other program?
I would show you the footage but I can't be putting links up to it on the Internet right now (not my choice).
Thanks in advance for any help you can offer and sorry we got off to a bad start.

Deinterlacing BMD DNxHD footage

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