Deinterlacing using FCP vs. Compressor

My footage was shot on an XL2 at 24p 16x9. However, I'm getting really ugly interlacing field tearing. Is it better to deinterlace in FCP and then export, or throw on a deinterlace filter in Compressor?
Is there any other way to get rid of this interlacing problem? And why am I having it if I shot progressive?

I usually do a batch reverse telecine with cinema tools.
Start by exporting your clips to QuickTime reference movies (not self-contained). The only way the batch will work correctly is if the clips all start on the same frame of the pulldown cadence. The 24p video should have NDF timecode, and the A frame of the pulldown is usually at 0 frames (xx:xx:xx:00). Set an in point for each clip before batch exporting.
You should then be able to batch reverse telecine the whole folder full of clips. Try a couple of tests first.
Once you have new reversed media, you can bring the whole folder of new clips into you FP browser and edit with those in 23.98.
Hope this helps.

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    which of the two is best for deinterlacing propose? compressor does have 3 types of deinterlacing and fCP only one...
    cheers!

    Compressor is much much better using the frames tab.
    Takes longer depending on whether you choose better, best, etc., but does a better job.

  • Is there a deus ex maquina for the hashed over HDV- DV conversion issues in the temples of FCP and Compressor??

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    DEVICE CONTROL PRESET:  Sony HDV FireWire
    VIDEO PROCESSING Render 10-bit material in high precion YUV
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    Sorry.Presets: Apple Pro Res 422 1440x1080 60i 48 kHz, HDV- Apple ProRes 422, Sony HDV FireWire. Capture Preset: HDV-Apple ProRes 422; Device control Sony HDV FireWire. Sequence Settings: 1440x1080 HD (1440X1080) (16:9), PIixel HD(1440x1080), Upper/Odd, 29.97, Compressor Apple ProRes 422.  Message was edited by: Richard Fera

    Michael,
    Thanks for the helpful comments. Two tactics today helped. Where ever field dominance was indicated I made sure "upper/top" was the same everywhere throughout  FCP and Compressor. That almost eliminated the jagged edges. Also, in the easy setup, I selected Apple ProRes 422 as the format, using HDV to ProRes HQ - Sony -1080i60. Sending direct to Compressor rather than through QuickTime conversion also help produce a clearer, less dark picture.
    I'll try your suggesstions especially adding compression markers. I'll check back with you on results.
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  • I burned a DVD using FCP X and it skips.

    Are there good video tutorials that go over how to use FCP with compressor? OR how can I get this to not happen? Thanks!

    If it skips, the most likely cause is either the media (either the brand or even that specific disk)  or the player. Very doubtful it's FCP that's at fault. Also an outside chance that it's the burner.
    Getting Compressor is not a bad idea, but FCP should be able to handle making the DVD. Where Compressor helps most in DVD creation is when the movie is particularly long in duration or if you're trying to get rid of artifacts caused by down-converting HD.
    I don't have first hand knowledge of too many tutorials. Jeff Greenberg has one on Lynda.com. I know there are others, but I haven't used them.
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    Russ

  • Remote Voice Over Workflows using FCP - thoughts?

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  • I am exporting a 2 min video, using a custom compressor setting. i have not had issues with this setting in the past, but recently its taking upwards of 4 hours to process. Any idea what is going on?

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  • What is the workflow from FCP to Compressor to preserve 24p frame rate?

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  • RED ONE camera to FCP to compressor for DVD

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