Field order / interlacing problem

I convert my mpeg video source files using dropDV, then cut the clips in iMovie.
If I create a dvd using iDVD and watch it on my tv, there is a nasty shaking effect which is more visible when either the subject or the camera is moving.
Someone recently told me this problem might be caused by the field order being inverted.
Can anyone confirm this, or has anyone experienced similar problems?
Any suggestions how to overcome this problem?
(So far the only attempt that has not failed was when I exported to iPod .m4v from iMovie and used this file in iDVD... the problem was solved, but of course the resolution is much lower)
Thanks for your comments!
Peter
Mac OS X (10.4.7)

welcome Peter to the  board …
yepp, your discription sounds like a odd/uneven problem...
I'm not familiar with any prefs/settings in dropDV, but I onced solved simliar problems with the free tool JES Deinterlacer

Similar Messages

Interlaced footage in secondary preview - wrong field order.

I just got CS5 Production Premium and an EVGA GTX 465, which is basically a GTX470 with less CUDA cores (352 instead of 448). I added the card to the list in the Premiere CS5 txt file (the so called hack) and everything seems to work perfect except for one thing. When I play back interlaced footage that I shot with either of my two AVCHD cameras (Canon HF100 and Panasonic AG-HMC40), the footage in the TV set (which is setup as my second monitor) will play with the fields in the right order but after a few seconds it will start playing as if it were progressive, or as if the fields were in the wrong order. Then, eventually, it will go back to play the fields in the right order, and then the wrong order, and go back and forth like that. It switches every ten or twenty seconds. This happens both when the footage is played back in the source window and in the timeline.
Thanks to the GPU acceleration, it plays smoothly always even with added effects and even with different tracks at different opacity levels (I tried three tracks, one at 25%, another at 50% and the other at 100% and it played without skipping a frame), but I don't understand why it doesn't always send the right field order. I wonder if it has anything to do with the cable that goes to the TV set, since it's DVI on the end that I connect to the video card, and HDMI on the other end. Regardless of that, I purchased the cable from Monoprice and it's a very thick, well shielded cable. The card comes with a mini HDMI output, but the cable that comes with it is not long enough to reach the TV. Still, I'm not sure that it would make a difference.
Is this happening to any of you? Could this be a problem with the card itself, with my footage, or with Premiere?
Note: I had switched the "Multi-display/mixed-GPU acceleration" to "Compatibility mode" in the Nvidia control panel and it didn't make a difference in anything related to CS5, whether it's this particular problem or anything else.

JSS1138 wrote:
We should probably just get the details, instead of speculation on what hardware is being used.
Oh, the system is pretty fast, but Premiere always took a huge toll when external preview was enabled, it was like that in CS3 and CS4 as well. But here are my system specs just in case:
AMD 1090T @3.8 Ghz (stable)
16 GB of DDR3 G.Skill RAM
Gigabyte GA-890FXA-UD5
Western Digital 1.5 Gb Black Edition (as one of the video drives, the OS drive is a standard WD)
EVGA GTX465 1 GB
So while this may not be the fastest computer in the world, it's more than fast enough for HD, with 6 cores and 16 GB of RAM.
This is something that's either wrong with Premiere's design, but maybe there's a workaround, which is what I'm trying to get to. I've been trying many things in the "Manage 3D" section of the Nvidia control panel, but nothing seems to work. VSync on or off, Triple Buffering, etc, etc, the problem is still there.
Obviously if I right click on the monitor window and instead of "Both Fields" I choose either first or second field, I get just that, but I don't see why do I have to edit interlaced video with just one field instead of both.

Cannot get rid of the horizontal lines (field order or interlacing?)...

OK- I have footage which is 25fps DV Pal 720/576 (was shot on tape, 4:3 letterboxed), lower field/even which I am editing into a short 25 second sequence which needs to be 16:9 (as my final project will be that, and this footage/sequence is the only 4:3 one in the ten to be used).
The current sequence I have worked in is showing up as 25fps DVCPRO Pal 1280/720 also lower field/even and it is working OK (NO idea how!) except for the clips I am shrinking for a multiple screen section- they are shrunk to 45% and quite interlaced looking- meaning that I am seeing quite bad horizontal lines even in the playing back of the sequence, before export.
Notably one clip is FINE- it is different in that it has been "grown" to 180% because of the fact that it was 4:3 letterboxed and I needed it to appear 16:9. I see no interlacing/field order issue...
What do I need to do in order to "fix" this now that I have a gorgeous sequence and cannot export it to look like anything decent?
I feel I do NOT understand the settings I should set up for capture, working and export- I am just stabbing in the dark here. I guess a problem I have is that while I learn super fast when shown to do something I don't make the connection when reading manuals well. In other words- if it is not a response to an issue I have I cannot tell that it is the answer I seek. I am so despondent.
Ideally I would need to be able to fix the mess as the work I have done is long and hard (I am not really a bad editor- creative but clueless when it comes to setting things up right, it would seem!). Please and many, many thanks.

Thanks for that. It was a horrible blow as he had just been nominated for his first BAFTA and I was so hopeful that he would take me on as an apprentice...
OK- the issue will be one most students creating showreels will encountering as we don't tend to shoot ideal footage, on different cameras we don't "know", and certainly don't have a say about how it is ingested. So it is a case of doing the best we can with what we have.
I ended up dealing with it by using Compressor to "reconform" the footage I was using and to also use a 30%/45% scale-down of each of them and made a multi-clip collage of the material. The "problems" are almost lost in the scaling down, so I am OK with it.
Of course there is still the problem that if I move from the college's Avid system to my home set up of Final Cut Pro I get very annoying issues also with the Avid's exports (QT6) showing up as 5:4 instead of the 16:9 it was exported as!

Field order problem I think

I just burned through 10 dvds and they all look terrible. There are all these wavy lines. Is this a field order problem? If so, how do I correct it. I have missed my deadline and I am in big trouble. Please help.
Thanks

I just burned through 10 dvds and they all look
terrible. There are all these wavy lines. Is this a
field order problem? If so, how do I correct it. I
have missed my deadline and I am in big trouble.
DV formats ALWAYS use field 1 dominance -- LOWER FIELD FIRST!
Since your content was created in a graphics program and not a DV camcorder, be sure to read through: http://www.greatdv.com/video/fields.htm
BTW, It's ALWAYS the best idea to create a disk image out of iDVD (an option under FILE). Verify the image plays correctly with Apple's Disk Utility and then make the actual burns to writable media with Apple's Disk Utility or Roxio's Toast. Use quality DVD-R media (Verbatim or Maxell) and burn at 4x speed or lower.
F Shippey

HDV to DVD interlace field order - depends on export path!

Summary: Export... -> Using Compressor versus compressing an Export... -> QuickTime Movie file, produces different field orders in the resulting MPEG.
In Detail: Here is my HDV to DVD (MPEG2) process;
Create a DV sequence, and drop the HDV into it, it gets resized, and has a filter to shift the fields by +1 added to it, and is scaled to the correct size for 4:3 (letterboxed) or 16:9 (fills 720x480) - which is fine.
Set the Quicktime Video Compressor for the sequence to 'None', and set the Video Processing -> Motion Filtering Quality to 'Fastest (linear)' as I don't like what Normal or Best does to the image (makes it pixally, check in the canvas).
Now, if you Export -> Using Compressor, and setup a 2-pass mpeg 2 encode, you get a very good image, no via - DV artifacts. I also add the channel blur, set to 1 on all channels, if its too sharp - channel blur does not blur between fields, like flicker filter does, so the motion is not compromised, and looks excellent, but it stops sharp still images from flickering.
However, this is really slow, FCP is tied up, and for a 2 pass encode, any blur or colour filters get applied twice, its also harder to hand this off to a second machine to get on with.
So, logically, you would instead, Export... -> QuickTime Movie... -> Current Setting, Make Self Contained and then load that into Compressor, apply the SAME settings you did Using Compressor... At which point, the FUN begins.
I have finally narrowed down, that this changes the field order, although I nearly went mad discovering it - every time I thought my little 10 second test worked, (exported from the timeline) I would save the whole thing out and compress it, only to find, the interlace order changed, and now needed the field shift removed! And, because my little test worked, I would then do the whole thing, some 20+ hours later, only to find it was wrong!
Export... -> Using QuickTime Conversion... is the same as QuickTime Movie...
Anyone else with experience of this ? It was maddening! But I think I am over the worst of it now! Is there any solution for unifying this for all export methods ?
When it works DVD's encoded from HDV look amazing.
When it works.....
FCP 5.0.4
Compressor 2.0.1
PowerBook G4 Mac OS X (10.4.4)

Hi Ben,
Ignore the Apple-0 (zero) part - that's just the key shortcut for the sequence settings. (press the Apple Key, and a Zero key with a sequence selected)
So, from the top: (although I'm not in front of my machine right now, so this is from memory)
Create a new DV sequence, 4:3 or 16:9.
Drop the edited HDV sequence into the DV sequence.
De-select the HDV sequence in the DV time line, bring up the Sequence Settings Dialogue for the DV sequence. (make SURE it isn't the sequence setting dialogue for the HDV sequence)
In the sequence setting dialogue, change the codec from DV to None (note - not the same as Uncompressed). If it's currently HDV, you have the wrong sequence, leave it as HDV, close the dialogue, and bring up the setting for the DV sequence.
On the 'Video Processing' tab, for the DV sequence, set the 'Motion Filtering Quality' to 'Fastest (linear)'
Choose OK to close the settings dialogue.
If you want to, and it depends on your footage, add the following blur filter to the HDV sequence in the DV timeline:
Select the HDV sequence in the DV timeline, right click (or hold ctrl key, and click) on the HDV sequence in the DV timeline, and choose the top item in the pop-up menu, 'Open' (in viewer). Click the filters tab of the viewer, you will see the Shift Fields filter, set to +1, added by FCP, add the channel blur, above the shift fields filter. Set the blur to 1 on each channel. I prefer this to the Video -> Flicker Filter, as channel blur does not blur between fields, so it does not blur motion.
I discovered this by accident
Now Save, the following sometimes crashes FCP. Check it in the Canvas viewer, set to 100%, with the channel blur, around text and sharp contrast areas, you get a nice soft blur, turn off that filter if you think its too much.
On to the encoding:
The simplest step, is to choose the DV timeline, and export via compressor. Pick a 2 pass MPEG preset, that matches the 4:3 or 16:9 of the sequence, and submit. This takes a while, on slower machines.
The alternative, which can reduce the time, is to export the DV sequence as an uncompressed QuickTime file - this does not change the quality at all - but can speed things up, because FCP is quite slow at delivering frames to Compressor, compared to Compresser just reading the frame from an uncompressed file, Compresser has to read them twice for 2 pass MPEG encoding. However, you need a lot of fast disk space to store the uncompressed footage.
Hope this helps.
Keep the replies / mail on these boards, that way they stay useful to all!
It was great weekend in Vancouver, wasn't it ?
Hit the beach on Sunday, good times

Field Order -Progressive, Upper or Lower? (Interlacing?)

Hi there,
I am fairly new to exporting videos in premiere pro and wanted to ask any experienced knowledgable users what the
field order in the export box does if changing between progressive, upper or lower? I have read up on interlacing and de-interlacing as i noticed that my clip when played on the computer shows these horizontal interlacing lines when exported on the default 'upper' field order option and as a test I exported with 'progressive' and the lines had disappeared but I'm wondering if exporting it in progressive reduces the quality of the video in any way?
This video is to be played on an HD TV most likely for a meeting.
Reading up that some TVs will automatically de-interlace a clip, does this mean that
a) I should just leave it interlaced under 'upper' option and know that the horizontal lines won't appear on the TV? (still need to test this)
or
b) Just export as progressive as I am entirely wrong about the TV and the horizontal lines will show up on HD TVs unless I export with progressive?
I am pretty confused!
Please, I would appreciate any advice on this?
Sorry if i'm wrong on the things i've said, I am very new to all of this!
Thank you!

Hi Jess565,
Thanks for using Adobe forums,
You can go ahead and export as Progressive and it will not effect the quality of your video.
Happy Editing,
Sandeep

Need to setup Premiere CS6 sequence for two file types with different field orders

I have a client who has shot video for me using two cameras, one camera was set to progressive, and the other to interlaced upper field first. I need to use both file types in the edit and have been struggling to set up the sequence to get the best look for the end product, a DVD. I have several videos to do for her that were all shot in the same way, so I need a solution!
I would appreciate help figuring out how to set up this work flow from beginning to end.
Should I convert one of the files from the beginning so they match field orders before going into a sequence? Or do I just need to do some adjusting of the files once they are in the sequence? Is it just as simple as changing the transcode settings to favor the upper field first? I'm definitely having issues once the video is transcoded in Encore and you can see a lot of jagged edges and lines especially during movement. My client isn't happy and I've tried several workarounds, but to no avail.
Here are the two file types I have:
File extension: .MOV
H.264, 1920x1080, Linear PCM, 16 bit little-endian signed integer, 48000 Hz, stereo
FPS 29.97
No Fields: Progressive Scan
File extension: .MTS (my Mac finder can't read these files, but they are read in Premiere)
Image Size: 1920 x 1080
Frame Rate: 29.97
Source Audio Format: 48000 Hz - compressed - 6 channels
Pixel Aspect Ratio: 1.0
Upper Field First
I am using Adobe Premiere CS 6.0.2
Encore 6.0.1
Media Encoder 6.0.2.81
I am running it on an iMac 27-inch, Mid 2011
with Mac OS X Lion 10.7.5
Processor 3.4 GHz Intel Core i7
Graphics AMD Radeon HD 6970M 1024 MB
I've just been setting the sequence to match the .MOV files since they look much better than the .MTS files. I've done the opposite as well, setting the sequence to match the .MTS files and it doesn't seem to help. I've also changed the field order of the files once they are in the sequence by changing the field options and have tried converting the .MTS files in the Media Encoder, but nothing I've done has worked.
Any help would be so appreciated! The client I have is a photographer, so she wasn't aware of this issue when she first shot these videos. So I have 10 videos with these issues I need to get back to her, hopefully issue free! I'm struggling as an editor because my last job I was using FCP and was working with videographers who knew what they were doing, so I've never faced such problems before. Plus I'm new to the Adobe software. Not a good combination. Please forgive me if I didn't give all the information you need. I will happily respond with whatever more information you may need to help me out!
~KTrouper

I wonder if you could do your edit ignoring any visual issues of the interlaced footage but keeping the different sources separate ( checkerboard edit Vid 1/ Vid 2 )
Lock it down then export the interlaced part of the edit as a Digital Intermediate.
Maybe Export the other source as well to the same codec. DI
Bring them back together in a New Sequence. You wold have to deal with the black spacing.

Totally confused about mixing videos with different field orders.

I have PPcs5 on the pc.
I edit for many different shooters. As such I get everything: Progressive, upper field , lower field . Not to mention from a zillion different cameras & different resolutions.
I output 95% so far to dvd ntsc, 5% BR.
I get dv tapes on some & HD files also.Many times I get a mixure of both on each job. Also Iphone HD files too. Going crazy trying to fiquer out how to set up my sequence when I have upper field or progressive by themselves & also when they are mixed with lower field dv foot...Do I force everything into a lower field seq if going to dvd?
Do I have to deinterlace anything?
If I drag a clip to the new "create seq" icon, it will match the clips properties but is that correct if its a progressive only project or an Upper field project going out to dvd ntsc?
Do I need to RT click on the clips in the project window & "interpet Footage" & force it into a lower field there 1st? Is there a difference between setting up a seq to be played on a progressive DVD player hdmi to a prog TV as apposed to setting up a seq for a non hdmi or non progressive tv?
Does outputting to dvd automatically force it to lower field ?
If my seq isnt set up correctly I notice a big interlace problem when the cams pan from side to side, especially when there are multiple cams with different field orders. Have been unable to find any good discussions or articles on the topic.
How do you guys do it without going crazzzzzzzy?Are there rules? What are the rules? A rule book would really help:-) I Yern for the old DVCAM/DV days:-)

DV is always lower and HD is upper or progressive.
As you are having all fields in one timeline i would make it progressive.
Premiere does a good job in deinterlacing.
Only use Interprete footage when the footage is interprete wrong.
Set up a progressive timeline and drop everything in it. If a clip does not behave correctly you can change fields in the Field Options.
Export from Premiere and import into Encore. That is what i would do......

Field Dominance (FCP) vs. Field Order (Motion)

I am having a time trying to figure out what's going on with my clips that I send to Motion. I'm working with video that is HDV1080i60 and has a Field Dominance: Upper (Odd). Now when I send a clip from the timeline and it opens in Motion, the video appears heavily interlaced and I have to go into Project Properties and change the Field Order: Upper First (Odd) to Field Order: None. After I make the change to Field Order: None, my slowed down wakeboarding/tubing clips look fantastic.
I don't understand why I have to make this change however. I'm sort of a noobie, learning how to apply speed changes and variable speed changes to clips. But I can also send unaltered clips to Motion and I run into the same issue.

One thing to know is that by default in FCP you are only seeing one field in the Canvas but in Motion by default you are seeing both fields - so that may be all that's going on.
To see both fields in FCP you need to set the Canvas to 100%; to see only one field in Motion, you deselect Field Rendering under the View pop-up menu (or Option-F IIRC).
When you slow a clip down, you can run into field problems, which is why choosing Field Dominance of None can be helpful. Better to work with material that was shot progressively to begin with, though.

Field order errors from Color

I onlined a job recently that had been done in 10-bit uncompressed (PAL). The final edit an hour-long documentary) had been sent to Color for grading, and I was picking up the job to finalise it (adding captions, titles etc. the usual stuff).
The colourist had rendered the clips, but hadn't sent them back to FCP. When I opened the projects in Color it had lost the reference to the rendered files, so I couldn't send them to FCP, so I imported the folders containing the rendered clips into FCP, and layed them back into the final edit as a new layer.
All ok so far.
When I came to play the clips, they were flickering as if they had the wrong field structure, and I had to add a shift fields filter to make them correct. The original clips, the rendered clips from Color and the sequence were all set to 10-bit uncompressed, upper field, so I'm perplexed as to why I had to do this.
I checked Color and it's set to render out in the original format.
I had to render the entire timeline because of the shift field filter, which took 3 hours! Can anyone shed some light on the problem and a solution to prevent it happening again?
I've posted this in the Color forum as well.
Cheers
Steve

I've encountered an issue similar to this with NTSC DV coming back with reversed field order. It may just be in the nature of COLOR to assume that all media is odd/upper HD. You used to be able to buy Final Touch in three variants: SD, HD and 2K. They were individually built to make the field dominance issues moot, but now that there is only "COLOR", there may still be a few old prejudices lingering. This app does not do well with interlace, and a giant problem with it is only a flick of the wrist away.
It was probably not a good idea to render the media out of COLOR without creating a new FCP sequence.
jPo

Field Order/Dominance question

I've been noticing that spots I've produced that air on my local cable network appear to be having problems with jerky movement of elements created in Motion. I thought that maybe the field order was set wrong on my Motion projects. (I should add that I'm doing "the big no-no" by only monitoring these on my computer and not on a TV monitor. I know, I'll have to remedy that someday.) Anyway, I'm using the "NTSC Broadcast SD" preset and that means field order is lower/even. I'm definitely rendering these out with field rendering on (Apple ProRes, btw) as I can see the interlace combing when viewing the output file.
I thought I'd try an experiment by creating a Motion project that would expose interlacing problems in the worst way and then render it out of Motion three ways: lower, upper and none. I then encoded these to mpeg-2 using Squeeze and burned them to a DVD (in DVDSP) to view on my consumer DVD player and SD television. (Remember, that's the only way I can view them played back interlaced...) To my surprise both the upper and lower movies looked terrible and the one rendered with no field dominance looked the best.
What gives? Any ideas? Does this seem right?
Thanks!
--Kurt Cowling

Wow Iain, you know waaaay more about this than I do. In fact, I asked a question in the iDVD area of this board many moons ago regarding whether or not there was some sort of metadata or tag that let iDVD know if the incoming file was interlaced or progressive and the response was basically "I don't know for sure, but I don't think so".
Anyway, I can confirm what you say regarding the output of ProRes files. The content is interlaced, but when clicking the deinterlace button in the advanced area of QuickTime player nothing happens.
I tried as you suggested and opened the "Advanced..." area of the output settings in Motion and found that interlace was indeed not checked in the ProRes settings. When I output a file after checking that box I can also confirm that the deinterlace button in QT player did actually deinterlace the display of the file.
I normally output my Motion projects in several layers and bring them back into FCP (as rendered video, not Motion files) to composite them with the underlying camera footage. (Makes later changes and updates easier to deal with for my workflow.) I then export the composite out of FCP as uncompressed SD and then proceed to encode for FTP delivery from there (usually H.264). I opened a recent uncompressed file that was output from FCP and found that it suffered from the same problem, namely that the file was not tagged as interlaced, even though the content was interlaced.
I then opened one of the H.264 files that was encoded from the uncompressed master. Same issue again.
The one thing I haven't tried (yet) is outputting my test project from Motion as described in my first post (but with the files tagged correctly this time!) and see if the DVD that gets burned plays correctly. I will try this in the next day or two.
I don't know what happens to my files after I FTP them to the cable provider, but I assume they must transcode them from H.264 into their system. If the files aren't tagged as interlaced then their system is probably treating them incorrectly, as well.
This brings me to the final question(s) that may solve all of this for me:
Is there a way to change just the metadata/tag in an existing QuickTime file (so that it is tagged correctly as interlaced) without having to re-render from the beginning? Also, It appears that FCP may suffer from the same issue since it obviously uses QT to export, just like Motion. If I correctly tag a file rendered from Motion and then import it into FCP and FCP doesn't then pass the correct tag on output to uncompressed I still have the same problem. Or, if FCP tags the uncompressed file correctly, but QT doesn't pass this along to the H.264, I'm still screwed. Hence, my question at the top of this paragraph! I think I really only need the last file I handle before FTPing to have the correct tag, since the content has been fine all along.
Thanks so much Iain for looking into this! I would never have found this on my own. I'm not exactly sure if this is a bug or just a bad implementation, but this seems like a bad oversight for sure and not something that could be figured out from reading the manual.
--Kurt
p.s. I will try some more experimenting with this and hopefully can come back and marked this thread as "question answered" since a workaround seems doable. Iain, would you be willing to submit this to Apple as a bug report? You seem to have a much better handle on this than I do.

Field order issue with Avid codec

Is there some way of setting the field order of the source for Encore DVD 2. Given the problems I experienced with ProCoder I decided to encode a project using the inbuilt Main Concept encoder.
On the interpret footage menu I can correctly set the aspect ratio but not the field order.
Unfortunately Quicktime does not seem to be passing on the correct field order to the Main Concept encoder everytime.
I have had one encode using a preset I created that worked perfectly - I then copied that preset and added a crop and scale to get rid of some VIT (out of essential but viewable on the customers replay system) and everything was field muddled.
I can see how you can set the output field order but no way of setting the source field order. Transcoding on automatic had the same jumbled field effect.
BTW these were full Quicktimes not refs

Probably - although it is such a small re-scale, that if the scaling algorithm is even half-way decent the result should be fine. This is Digibeta originated footage.. in fact the result when I re-worked this in ProCoder was excellent.
I just wanted to avoid having to place a mask over 8 different sequences amounting to 50 minutes in length, as anything you then export would result in a full render (even though the Avid would play it in real time).
I guess I'll have to seriously look at my workflow - everything used to just work beautifully - Avid PAL codecs all UFF except for AvidDV LFF; now I keep getting a weird progressive looking result with the new Avid 1:1 10bit codec even though the source is interlaced UFF and recently I rendered an Avid DV export with all settings correct (Source LFF Target UFF) and it ended up jumbled. I had to deliberately set the source to UFF. I do think the culprit is QT 7 as all these problems seem to have started from the switchover from QT6+, but I'm not certain.

Uncompressed 8-bit Field Order?

Hello!
In FCP, I'm working with an Uncompressed 8-bit sequence with the field dominance set to "None." After having done a bit of research, I realize that choosing "none" was fruitless since Uncompressed 8-bit is an interlaced format (right?). Anyway, when I export my sequence to a QT file for compression, Compressor sets field dominance to "Upper First." Does that sound right? First of all I've got my sequence set to "none" for field dominance. But if I'm right that Uncompressed 8-bit can't really be set to "none," shouldn't Compressor at least recognize it as "Lower" aka "Bottom First?"
I've read several posts about this but nothing to do with Uncompressed 8-bit specifically, so sorry if this seems like a repeat post.
Thanks for any help!
Cameron

I was looking for some posts concerning interlaced source material and came across this thread. I have to say I don't think it's accurate to say that almost everything other than DV is upper (odd) field dominant. For example, the uncompressed codec AJA uses is lower field first, as well as the Avid codec.
The most important thing is to tell your encoding software what field dominance the SOURCE material is. It can then interpolate and output correctly.
Also, don't judge anything interlacing-related on a computer monitor - look at it on a tv monitor. You won't notice some interlacing problems until you see them output NTSC.
I have had MAJOR problems when importing interlaced source material into Compressor. Number one, it almost always guesses the wrong filed order on import. Number two, at least when bringing in D1 resolution material from Final Cut and cropping in Compressor, the resulting files flicker when played on tv. I actually haven't used compressor - but a great alternative called BitVice by Innobits. It handles interlacing with ease - like it should.
I bring this up because I have never heard anything official from Apple that addresses problems with interlaced source material, and after thinking for a long time that I was missing something, I now realize it's not me - it's them. Try BitVice. It lacks the user interface of Compressor but it's a great (and dependable) encoder.
If anyone can point out posts that address these issues that I've missed, please let me know!
Dual 2 GHz G5 Mac OS X (10.3.7)

Interlacing problem after re-compressing.

This is getting frustrating...
I have a DVD that was encoded with the automatic Encore 2.0 settings and now have some videos up to 8.4bitrate. The original AVIs have since been deleted so I am trying to work with the M2Vs that I copied prior to deleting the project. I have recreated the project and tried everything I can to get the m2vs compressed to a lower bitrate (I'm trying 6). I have always used TMPGEnc but it will not accept m2vs. I have tried Squeeze as well as just using Encore to recompress but both programs give identical problems: Very flickery look when the video moves quickly. It seems to be an interlacing issue but I can not get it to go away.
I have tried using Squeeze and selecting (one at a time) upper, lower, progressive, but all with the same result. The videos always seem to look fine on my pc but when I export them to DVD they go flickery again. On footage that is slow motion it is not nearly as noticeable.
TMPGEnc always had options to play with de-interlacing but Encore doesn't (that I know of) and Squeeze looks very limiting too. Even if I can filter the interlacing I still don't think I will notice it untill I export... which gets VERY time consuming and tedious! Even with 1 minute clips.
I have the completed DVD which I am about to rip to AVI and then recompress the AVI to m2v... will this be the best option or is there something easier?
Thank you for your help, this project is very close to being over due and I have 2 other projects being stalled now...
Thank you,
Stephen

If you still have the Encore project where they were transcoded, you can fix the field order problem with Restream without reencoding again. The transcoded file will be in a subfolder of your Encore project folder (ProjectFolder\Sources\Transcodes\Filename\)
1. Download Restream (http://www.videohelp.com/tools?tool=Restream)
2. Run Restream
3. Click on the "Open" icon at the upper right and select the original m2v file
4. Look at the check boxes on the left side in the middle labeled "Frametype progressive", "top field first", and "Progressive sequence". You don't need to change anything, just note the values.
5. Now click on the open icon again and select the transcoded m2v file that doesn't play correctly from the Encore project folder. Compare the three checkboxes. If the values are different, change them to the ones from the original file, then select a destination (disk icon on lower right) and click the "Write" button. This new file should play correctly.
If those settings are the same as the original file, you may have hybrid material (mixed interlaced and progressive) or something else more complex in which case you will need to reencode.

IEEE 1394 Field order trouble!

When I send video from the sequence on the 1394 field at the output displayed in reverse order, because of what the image shows the effect of strobe and "comb". Is there a way around this bug? Will Adobe company to solve this technical problem? Thanks!

did you ever cure this problem?
have a read of this post I've just put on the atomos site
OK so FCP 7 works fine with pro res 422 HQ normal and light. Premiere does not. Upper field settings imported straight into the sequence at first look fine. View it on a crt preview monitor through a video board (exactly the same way as FCP) and what an awful looking picture it is!
Reversing the field settings cures this effect but hey! (having to render the footage though is not slick in a fast paced working environment) when exporting the footage to mpeg2 for dvd creation in studio pro - guess what! ....the interlacing problem is back again!
So come on guys - will someone actually answer the question. Have I wasted several days and money trying to move to Premiere CS6 (almost on CC but holding fire on that one!) Somethings going to go - either the Samurai or Premiere.
It's just like premiere does not see the upper field settings in the native pro res footage. And I've tried all sorts of configurations to cure the problem. The only way I found was to export the XFL files to FCP7 and work with the project on there. And seeing as I'm trying to get away from FCP this isn't ideal.
So come on tech heads from either atomos or planet earth. Lots of other people have had this problem but no one seems to get a proper answer.

Field order / interlacing problem

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