Field Dominance Settings 1080 60i

Hello -
I have footage shot with Sony HXR NX5U. Shot on 1080 60i.
What should be the Field Dominance settings be? Upper, Lower, or None?
I exported the final project to Dual Layer DVD. When people are moving hands fast or dancing. Its does not look like a smooth hand movement.
Are my settings wrong somewhere?
Thank you,

Best workflow:
export from fcp with current settings
bring this file into compressor and use the appropriate DVD preset
The smartest thing to do is a short test with a section with a lot of movement and try the 3 different options.  You might also consider deinterlacing in compressor in the frame controls.

Similar Messages

  • Field Dominance Settings on 720p

    I'm working in a 720p 30fps sequence with a mixture of NTSC, 1080i, and 720p footage -- with the majority being NTSC.
    What should the sequence field dominance settings be: lower, even, or none?
    The other sequence settings are HDTV 720p 16:9. Square pixels, 29.97 time base.

    Despite it being early, Tony is correct. None for Field Dominance with 720p material.
    Is there a particular reason you're using a custom sequence setting like that though?

  • Field Dominance settings for rough edit

    I'm working on a project that will be finalized in HD elsewhere from a variety of sources, HDcam, Targa files, SD, etc. I'm doing the rough edit and will export an EDL (possibly through Automatic Duck to be finalized in Avid, not sure about that yet). I'm not doing any effects, just getting the right clips in the right order. I'm working from DVcam dubs only (firewire import)of the source material. I know the post house already has some of the HD material on hand and it is upper field dominant. DVcam of course is lower field dominant. Do I need to change the settings to upper field or not set, or is this something the post house will deal with when it imports the final video?

    Don't change any settings... it won't affect the EDL anyway.
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  • Offline To Online Changes Field Dominance Settings?

    Hi - I have an offline DV PAL sequence that I am taking online to 10-Bit Uncompressed PAL.
    To my understanding PAL is Upper field dominance, and all my sequences and source files in the offline DV project are upper. However when I check the Uncompressed online project, many of the files (subclips especially) are set to Lower.
    My question is this - since it's easy to change fd for clips by just right clicking in the browser, if I just set the incorrect clips' Field Dominance to Upper and make sure the shift fields filter is not enabled, can I be certain there will be no field dominance issues?
    Maybe more importantly - what is the best way to determine if you have any field dominance issues? Is simply watching it on a monitor/television going to be obvious if something is wrong? Any way to check on the computer?
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    Field dominance depends on the format, not the standard (pal,ntsc).
    DV is lower field dominant be it PAL or NTSC, and uncompressed is upper field dominant.
    For true monitoring, you'll need to view your image through an external broadcast monitor... a CRT television should be suitable for monitoring field issues (i believe... i'm sure i'll be corrected if that's wrong).
    The only obvious thing to look for is 'combing'... the lines (fields) that appear around the edges of a subject on the screen, especially when there is a lot of on-screen movement.
    Just out of curiosity... why are you taking a DV sequence into 10-bit uncompressed? Doing graphics etc?
    J

  • Will setting sequence field dominance to "NONE" effect resolution?

    First, thanks all for the title help. It looks like i might have it licked. From this point however comes a new question.
    The only way to keep my titles clear and free from flicker is to set the imported livetype .mov file's field dominance to "none" and place it in a sequence that also has a field dominance set to "none". Great. now i need to put the title sequence on my master time line (project time line of 1hr 20min) which exists in a sequence set to the standard field dominance of "Lower" and which is made up of an hour and a half worth of clips that are all set to "lower" as well.
    My question(s) is this-
    While i understand what field dominance is doing as an upper and lower, what does none do?
    Currently the project (under the settings above) is rendering as i have changed the master sequence's FD setting to none. I haven't changed the individual clip settings to none due to my ignorance on the issue, only the title sequence has the same settings. Put another way- I'm currently rendering a sequence that has its field dominance set to "none". On this sequence, i have several clips that have their field dominance set to "lower", and one clip (my livetype title clip) has its field dominance set to "none". I've done all this in order to prevent flicker on my livetype scrolling titles.
    Q: Should i do this?
    Q: Will i suffer a loss of resolution on the clips that have a field dominance that is different from their sequence?
    Q: Will keeping them different effect the export and eventual dvd burn of the project?

    Your better off NOT making a movie from LiveType, but importing the LiveType project file and rendering in FCP. Leave your field dominance settings to match your clips. If you set to NONE, that is for Progressive scanned footage. You will lose clarity on your clips. But don't just ask and listen here... do it. Change the sequence from Lower to None and look very closely at a still frame. You will see that you have lost the "jaggies" but at the cost of edge clarity.

  • Field Dominance Setting question

    Hi
    Just read an article suggesting setting the field dominance setting to 'none' to reduce the interlace on progressive footage on renders?
    I have checked the FCP manual and it doesn't specify a prefered setting for 1080i50, which I have been filming in.
    Could anyone clarify or suggest pro's and con's of the field dominance settings options?
    thanks

    For 1080i50, you should leave field dominance at Upper. The sequence field dominance (field order is a more accurate term) should be the same as that of the source footage. Stick to that rule and you'll be OK. For progressive sources it's None. For interlaced HD format sources, it's Upper. For SD interlaced sources it's Lower.
    Now, in the case of 1080p25...it's progressive, but it can be carried on a 1080i50 timeline with no ill effects EXCEPT that transitions, moving titles, and perhaps certain other effects will render with the normal interlacing of the sequence format. The fix is to change the sequence field dom setting to None. Hope that makes sense.

  • Exporting from After Effects (field dominance issues?)

    Hi all,
    I created a FCP DV/NTSC sequence with field dominance set to none (I'm working with still images, this improves the quality a lot). I then export that sequence as a quicktime movie file and import that movie file into After Effects.
    The problem is after I'm done working in After Effects, I can't export a quicktime file without it looking really poor quality. When exporting, I preserve all the original FCP sequence settings, except the field dominance settings(doesn't seem to be an option in After Effects for this?).
    So pretty much I am trying to get a sharp picture when exporting in After Effects, so I can take it back into FCP. Please assist.

    Your workflow is quite limited by the DV NTSC sequence. If your sequence is all stills, you are not necessarily tied to that setting at all. Do you need to output to a VTR via FireWire ultimately? What is your final output?
    A better sequence choice might be DV50. You would export a QT movie, current settings. You don't actually export from After Effects. You render by adding your comp to the Render Queue. Good render settings would be DV50 (this would not require rendering in FCP), Animation, or perhaps ProRes 422 HQ if you have access to it. You would choose not to render fields.
    If it's all stills, it would be better yet to simply start in After Effects.

  • Correct PPro CS3 Project Settings for Neoscene/Cineform 1080 60i .avi files?

    I am looking for clarification on the correct Premiere CS3 project settings for AVCHD 1080 60i NTSC files converted with Neo Scene with the "maintain source frame format" option.
    Should the PPro project settings for "Field" be upper or lower field first?
    On a Cineform discussion board I was told all interlaced HD footage is upper field first.
    However, I have found that a PPro project setting of upper field first results in much more sluggish playback than lower field first.
    So seems there is additional processing needed with the upper field first project setting and this suggests to me that lower field first is the proper setting.
    Any thoughts from NeoScene/Cineform users out there?
    Thanks!
    The project settings I have been using are:
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    Frame size: 1920 x 1080
    Pixel Aspect Ratio: Square Pixels (1.0)
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    ...is not so good - bad colours. In Microsoft DV Avi-DV Pal compression. D1/DV PAL Wide is pixelate. I have click the de-interlace so it is not because of that. I have no problem to use encore it the file i send is compressed in those settings i mention before. I have no problems in compressing the file with those settings at all, like i have when i want to transfor the video in avi uncompressed.
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  • Field Dominance and De-interlacing: what settings to use?

    I've been trying to read about, and understand, the issues of deinterlacing and field dominance/order, but I'm having problems and don't yet see what the clear solution is.
    I'm shooting DV footage with a consumer grade camcorder:
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    Sequence Preset: DV NTSC 48kHz
    720x480 NTSC DV
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    Or, maybe I should be using the de-interlacing filter on everything? I haven't found clear instructions about what destination material this should be used for...
    I'd be grateful if someone could look at this web page containing examples of what I mean:
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    Picture 2: NTSC DV frame, from sequence set to "None"
    Picture 3: frame from "Cross Zoom" transition in "Lower (Even)" sequence
    Picture 4: frame from "Cross Zoom" transition in "None" sequence
    Questions:
    1) What are the correct settings? it would seem to be "None", because otherwise my transitions all have "teeth" and look like somebody is viewing it cross-eyed, even at full speed you can see the teeth in the transitions. But if I set it to none, then it seems that quick movements of the people in the videos get slightly more "teeth" to them...
    2) I am producing web video (quicktime/flash video movies). Not for TV or broadcast. Am I supposed to throw the de-interlacing filter on everything?
    with "lower", it's jerky (half the frames missing, I guess) but the "teeth" go away
    with "flicker-free", it's not jerky, but it gets a little fuzzy looking, and I want to keep things "crisp"...
    I need less advice on the theory, and more advice on "set it like this for what you are doing." I've read some really technical explanations, and I understand why interlacing exists etc., but not exactly what I should be doing to get the optimal results for my needs, i.e. simply good-looking web video with decent motion and transitions, shot from a consumer level DV camcorder.
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    G4 Dual 800 QuickSilver / PBook G4 Titanium   Mac OS X (10.3.9)  

    What are the correct settings?
    Since you mention that you've shot your material on a consumer-grade camcorder, that would mean that Field Dominance – in your FCP Sequence Settings – should be set to Lower. If you use None – and I'm sparing you the tech talk here – then you're basically rendering out at a reduced quality (as the last pic in your link demonstrates)
    I am producing web video (quicktime/flash video movies). Not for TV or broadcast. Am I supposed to throw the de-interlacing filter on everything? with "lower", it's jerky (half the frames missing, I guess) but the "teeth" go away with "flicker-free", it's not jerky, but it gets a little fuzzy looking, and I want to keep things "crisp"...
    If you really want to keep things crisp, you best quality option - within the Final Cut Studio suite of tools - is to Export Using Compressor, with the Deinterlace option in Compressor 2.x's Frame Controls to Better (Motion Adaptive) while setting your Output Fields to be Progressive (presuming that you'll exporting to QuickTime first, then converting to Flash. Having said that, this type of conversion can take a long time to process and may not be suitable if you're under a serious time constraint.
    Otherwise, the speediest option is indeed to slap a Deinterlace filter onto everything (or nest your sequence then place the filter on the nest) but the quality isn't always what folks would like.

  • FCP Settings and timeline settings shooting HD 1080 60i?...

    Hello Group,
    Can anyone help out with the correct settings in the FCP timeline, and in FCP 7 for optimal editing shooting with a Panasonic AG-HMC40 AVCCAM in 1080 60i.  Just got the new camcorder which shoots on the SDHC cards in HD. I'm trying over and over to find the best settings but can't seem to get it just right. 
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    But first you need to bring the clips into fcp using log and transfer (I assume it's like the hmc-150).  I'm pretty sure that on the hmc-150 there are certain formats that the camera will shoot that you cannot edit in fcp.  Check the manual.

  • Settings for 1080/60i Footage

    I'm in new territory here. I've previously only worked with 720/24p (Varicam) footage and am now working with some 1080/60i footage that originated in 1080/24p. It's a long story (see PS below if interested). Bottom line is we're stuck withi 1080/60i My question is this: The footage in FCP looks fine (for interlaced) but when I send it to compressor for DVD, the footage looks like it's low resolution (like it's 1/2 the amount of lines, but doubled) compared to everything else I've ever compressed. There are jagged edges everywhere... you can count the lines on certain objects in the frame... even/especially in progressive playback mode. It looks pretty bad. I've tried so many different settings and can't find a combination that works. Anyone out there with a solution?
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    Provo, UT
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    Hey Roderick,
    i thought 720p material was only 59.94 or 60?
    anyway, i am going to star with the basic questions, as in how are you exporting from FCP and how are you setting compressor?
    you are down-resing your HD footage first, correct (in FCP)?
    i am surprised that FCP cannot take in 23.98 @ 35 mbps, but this sounds like mpeg2 (since you are compressing from your camera).
    i usually work on uncompressed 23.98fps and depending on the tape anywhere from 100 - 440 mbps and import to FCP no problem (although i still have to render it depending on how i am compositing).
    anyway, let me know what and how you are setting both FCP on export and compressor to compress.
    Mikey M.

  • Understanding Seq. Settings as Related to Frame Rate and Field Dominance

    Hello All, I pondered just how to ask this question and have studied the FCP manual, especially Vol. 4
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    are getting close to the question! I noticed that I can change the field dominance to NONE, and add
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    I know that this is my mission, and any help in a better understanding production path is appreciated.
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    Well, I was recommended to do that when using in animation.
    I am very new on the AEP and FCP, so some of my friends who works on AE on PCs (I am in Brazil at the moment and few have MACs to help me)and AVID told me to change the frame rate in the composition to 60, render the 2 fields starting with lower (for TV purposes) and do the final render in 30 Frames. The reason is that the 2 fields would blend perfectly and the animation would not be shaking at the end.
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  • 1080 24p field dominance issues

    I exported a project using Apple Pro Res (HQ) in 1080 23.976fps. When I take it to the dub house for mastering onto D5 tape, they tell me that the field dominance switches on several of the edits. The footage was shot on the HVX in 1080 24pa mode. Some of the dominance switches happened on edits within the same clip. Any help or cause of this would be greatly appreciated.

    After testing and discussing with Apple tech, it was determined that the conversion to Apple Pro Res was the problem. I solved it by re-exporting everything in DVCPro HD 1080p24 with Recompress All Frames turned on. It's possible recompessing all frames with the Apple Pro Res would have also fixed the problem, but I ran out of time.

  • What is the Best settings in Compressor 3.5.3  for burning a DVD when the sequence is 1080 60i -- shot on P-2 -- DVCPO HD 1280x1080 29.97

    I tried a few changes in Inspector... Video Format such as - Field Dominance to Bottom First... and Quality to Automatic Bit Rate & Motion Estimation at Best. I think GOP and Extras are set on default ( IBBP, Closed 15 -IBBPBBPBBPBBPBP) & ("Add DVD Studio Pro metadata" checked). When the DVD is played back on 40" HDTV from consumer Blu-ray player... it looks awful. Images seem to have double or shadow images (field shifting or something) and the color and detail on distant images have a block type look. I seem to be a master at making High Definition look like multi-dubbed VHS.
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  • Best Compressor 3.5.3 settings for DVD when sequence is 1080 60i -- shot on P-2 -- DVCPO HD 1280x1080 29.97

    I tried a few changes in Inspector... Video Format such as - Field Dominance to Bottom First... and Quality to Automatic Bit Rate & Motion Estimation at Best. I think GOP and Extras are set on default ( IBBP, Closed 15 -IBBPBBPBBPBBPBP) & ("Add DVD Studio Pro metadata" checked). When the DVD is played back on 40" HDTV from consumer Blu-ray player... it looks awful. Images seem to have double or shadow images (field shifting or something) and the color and detail on distant images have a block type look. I seem to be a master at making High Definition look like multi-dubbed VHS. Any ideas? Thanks
    Message was edited by: KennyRay

    Good luck.
    Russ
    BTW, did this movie come from a FCP project?

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