Interlacing/telecine

I get what appears to be interlacing in videos that I post to PhotoShop.com using the sharing preset. My project setting match the video of 1920x1080, 29.97 fps, and 48k stereo.
When I post to youtube it looks better. (ignore that the resolution is much better, its the interlacing that becomes a problem)
I suspect that it's because photoshop.com is using a 25 fps frame rate and that my video is shot at 60i and then the file format is 29.97. Telecine?
Can I change the preset?
Or is there some whay to manipulate it?
Mostly just curious and learning why the same file would look so different. i can just choose to post to another site. The one step of the On-line preset is convieient. But, if I could change and maybe have one for Vimeo.com or something that would be great.
Not so Great Video
http://www.photoshop.com/users/TrackDaddy/albums/53f8b4bf501f4a78b220bd454fb42200/view#f2d 9217f86c841c09f96ef58016b637e
Better video
http://www.youtube.com/watch?v=0V8H_GQk_TM

Think I found my own answer in tips and tricks section. Turns out the original footage was shot in 24p mode. The Canon HF R21 stores that in a 60i. That probably combined with the 25 fps of photoshop.com renders poorly.
Now if I could create my own presets.
John ...

Similar Messages

Bizarre Reverse Telecine issue is driving me insane

OK, so I've got this 200G movie in uncompressed 10-bit 4:2:2 to reverse telecine using Compressor 2.3 (my copy of FCS2 isn't here yet, so that isn't the issue). No cadence breaks or other issues AFAICT. This is an actual telecine I'm reverse telecine'ing, btw.
Since the file doesn't have timecode burn and starts with a black leader, it's hard to get the precise reverse telecine settings by inspection. So I did what I've done in the past - export the first couple of minutes, starting from frame 1, and trial-and-error to get the right settings for the file (in this case, F1-F2, DD).
After doing that, I apply those settings to the big file, go away for 8 hours (since compressor hogs all the ram, the machine is useless for anything else), and return to find that...
...the file didn't reverse telecine properly - some of the frames are interlaced, and not only that, but it's wrong right from the start. Using the exact same settings, the short clip reverses fine, the long clip has interlace, even on the early frames that are the same as the short clip!
At which point, I'm shaking my head in wonder and then banging it against the wall... it doesn't make any sense whatsoever. I've repeated the whole process twice, with the same results.
Any words of wisdom. It goes without saying this was dumped on me with a ridiculously tight deadline.
MacBook Pro Mac OS X (10.4.9)

An update on my progress (hopefully this will help the next person in my situation).
I have found that dividing the job into smaller chunks (about 10 minutes long, 15-16GB) prevents this bizarre problem from happening; it seems to be a bug that only affects larger reverse telecine jobs.
With the smaller chunks, I've found that starting the export from FCP with the first of the two interlaced frames in each group of 5 is the easiest way to go, since it's easy to visually identify, and means that for F1-F2 interlaced telecines, the BC setting will always be the one you need to use. I've also been exporting a short (20 sec) clip with the same start point as each chunk as a sanity check, and so far it's all worked well.
G4 1.44DP

Interpret interlaced video with 2:2 telecine pulldown as true progressive?

Hope my title makes sense. Not sure how well I will be able to explain.
We have interlaced video files from film telecine. The telecine transfer were made at 25fps as the machines are PAL and this allows us to capture each descrete film frame within the 2 interlaced video fields. I believe this is called 2:2 pulldown. 2 fields for every film frame. The film is captured to V210 10-bit uncompressed blackmagic .avi files. We have films intended to be played back at anything from 12fps to 25fps. Everything is captured at 25fps as the only other available speed is 16 2/3rds fps which creates duplicated fields (3:2) and only works for 16fps content.
So, even though the video file is interlaced (top field first) by combining the fields you get a progressive film frame. Is there anyway to tell Premiere to interpet this footage as progressive without dumping half the fields? As far as I am aware if I work with a progressive sequence or interpret the footage as progressive Premiere will retain the dominant fields and interpolate the rest. I understand this for interlaced content where each field is from a different temporall moment but we actually have the ptrogressive frames just stored as 2 fields.
Any advice appreciated.
Thanks
Message was edited by: mojibake

Premiere Pro will automatically interpret footage that is shot as progressive-as-interlaced, like 25p or 30p, but that (to my knowledge) only works correctly with footage that is from a camcorder. That's because the file is flagged in such a manner that Premiere Pro knows to put the interlaced fields in the correct order for progressive display. I work with 480/30p and 1080/30p footage (which are both interlaced as shot) frequently, and Premiere Pro does things correctly there.
However, I think it will be a different matter in your case, unless the captures are being flagged as they are created. What does Premiere Pro say that the clips' field order (or lack thereof) is when imported? As you've surmised, if this isn't the case, telling Premiere Pro to interpret the footage as progressive is likely going to result in some unwanted artifacts. You could probably test this by importing two instances of your clip, interpreting one as progressive, and then placing them in a progressive sequence (one on top of the other) and toggling visibility between the tracks. You should quickly see if it's having the desired effect or... something else. Instinct tells me that Premiere Pro won't handle this correctly, however.
This might be a job for After Effects, which is a certain degree smarter and more capable of interpreting such things. I'm not exactly sure how to handle it there, but the After Effects forum might be the best place to ask.

Unusual interlacing problem

Greetings,
I recently shot a short 16mm film and got it telecined to DV NTSC with timecode/keycode window-burn. I imported the flex file I got from the lab into a Cinema Tools 4 database, then exported a batch capture list, and captured the footage into FCP 6. Everything seemed to have worked correctly, with the window-burn on the video matching the timecode and keycode information in CT. HOWEVER, when viewing the footage in the CT window, certain frames have interlacing problems. The pattern is:
A2, B2, C1, D1, D3
For every frame, the last number on the burned-in timecode is a bit fuzzy, but for every C1 and D1 the last number on the timecode and the last two numbers on the keycode are barely legible. C1 and D1 are also the two frames when the video image has an interlaced look to it.
And this is happening BEFORE I have even tried to reverse telecine! The footage has none of these problems when viewing on FCP and the original quicktime videos look fine as well. It is only in the CT window that I get this problem.. I am planning on eventually getting the negative conformed from an EDL list, and am worried this problem might be a sign of some sort of discrepancy between the film negative and the Cinema Tools database.
The info I entered into the database initially was TK Speed: 24 and TC Rate: 30 NDF, but have tried experimenting with different variations, none of which fixed the problem. ALSO, when I went ahead and reverse telecined the clips with CT, it took out every D1 frame correctly, but the interlacing and illegible numbers problem persisted. When I connected the new reverse telecined clip into FCP, the problem was still there. But when I checked the new reverse telecined clip quicktime file, everything looked perfect, without the interlaced look in the image, with completely legible window-burn, and with every D1 removed. So I figure it must be a problem with Cinema Tools!
I apologize for the long post, but I'm a student filmmaker trying desperately to get my senior film together and avoid possibly costly and time-consuming mistakes down the road. Any thoughts/ advice would be greatly, greatly, appreciated!
Thanks,
Zachary

Greetings,
I recently shot a short 16mm film and got it telecined to DV NTSC with timecode/keycode window-burn. I imported the flex file I got from the lab into a Cinema Tools 4 database, then exported a batch capture list, and captured the footage into FCP 6. Everything seemed to have worked correctly, with the window-burn on the video matching the timecode and keycode information in CT. HOWEVER, when viewing the footage in the CT window, certain frames have interlacing problems. The pattern is:
A2, B2, C1, D1, D3
For every frame, the last number on the burned-in timecode is a bit fuzzy, but for every C1 and D1 the last number on the timecode and the last two numbers on the keycode are barely legible. C1 and D1 are also the two frames when the video image has an interlaced look to it.
And this is happening BEFORE I have even tried to reverse telecine! The footage has none of these problems when viewing on FCP and the original quicktime videos look fine as well. It is only in the CT window that I get this problem.. I am planning on eventually getting the negative conformed from an EDL list, and am worried this problem might be a sign of some sort of discrepancy between the film negative and the Cinema Tools database.
The info I entered into the database initially was TK Speed: 24 and TC Rate: 30 NDF, but have tried experimenting with different variations, none of which fixed the problem. ALSO, when I went ahead and reverse telecined the clips with CT, it took out every D1 frame correctly, but the interlacing and illegible numbers problem persisted. When I connected the new reverse telecined clip into FCP, the problem was still there. But when I checked the new reverse telecined clip quicktime file, everything looked perfect, without the interlaced look in the image, with completely legible window-burn, and with every D1 removed. So I figure it must be a problem with Cinema Tools!
I apologize for the long post, but I'm a student filmmaker trying desperately to get my senior film together and avoid possibly costly and time-consuming mistakes down the road. Any thoughts/ advice would be greatly, greatly, appreciated!
Thanks,
Zachary

Interlaced HDV 50i to HD 25p for 2k grade then cinema.

I have shot a feature film on a Sony Z1 and have just completed editing. Everything was imported and edited as HDV but now we have completed the edit I would like to use compressor to convert my 50i HDV into 25p HD uncompressed or Prores.
There is a possibility of a film out, but at the very least it will be projected in cinemas on HD so I could really do with some help to find the best workflow, settings in frame controls etc. We are going to grade at 2k.
I have opened up frame controls and it has the usual good, better, best settings and I would love to know whether best is worth considering when coming from HDV as I'm sure it will massively extend the conversion time. But as it's going on the big screen time is not to much of a concern if the difference would be noticeable. Also if anyone could lay out which options need changing and which need leaving alone as there seems to be a lot of choices??? (resize, reverse telecine, de-interlace...)
Is this a reverse telecine, de-interlace, frame rate conversion? Are there multiple stages or is it as simple as it appears in the frame controls section and I just need to know the settings to choose?
I have searched but haven't found a situation that matches my own and would really appreciate some guidance as I would love get it right first time around.

Anyone out there who can help?

Reverse Telecine in Cinema Tools

My 24p fcp project is finished and I need to reverse telecine it to get rid of the ugly interlacing. How do I do this?
I've tried importing the movie into Cinema Tools and it keeps crashing. When I import the whole thing as a single clip (QT Movie), the Reverse Telecine button isn't available.
Also, why can't I import an mpeg-2 clip?
I'm using Cinema Tools 2.2, in case this has something to do with it.
Thanks in advance.

Oh, and Mr. Gilman was saying that there will be interlacing no matter what if it's on DVD or Beta? Why is this?
It's what I was trying to tell you when I said If tape, you need the pulldown anyway. If DVD, the pulldown would be added by the player.
You have to understand where the interlacing is coming from. It is coming from the pulldown inserted to bring the fps from 24 to 30...
Google reveals these Pulldown explanation pages:
http://www.adamwilt.com/24p/#24pRecording
http://home.aol.com/ajaynejr/pulldown.htm
http://en.wikipedia.org/wiki/24p
http://www.zerocut.com/tech/pulldown.html
http://www.denecke.com/24pinfo.htm
here's a visual representation of 24P with pulldown added to be recorded on a 29.97 tape (this is how all feature films are broadcast on NTSC)
You can see from this image that two frames BC and CD are interlaced - that is, they are made up of two fields taken from different frames. When a DVD has 24fps material on it, the DVD player automatically inserts this pulldown to bring it up to 30 fps so it can be shown on a regular TV.
Now. I believe your problem may stem from an incorrect field order, but first I want to ask - When you created your export of your movie that you fed into DVDSP to make your DVD, did you try importing it into FCP and playing it back on your TV. Did it look okay then?
Patrick

Super 8 interlaced confusion whilst editing and exporting

Hi folks
I recently had my old super 8 films telecined to disc as .avi at 18fps. I could have had them copied to a DV tape instead but due to the interlacing problems that would have caused I decided to transfer to an avi file. Now in a earlier post I had to tackle the problem of converting my footage from 18fps to 25fps using stream clip so as I could successfully edit my super 8 shots in final cut express 4:
http://www.fcpbook.com/Video6a.html
Has this converted my film back to interlaced footage because I selected DV-PAL in stream clip? I didn't think this would be the case but my titles in FCE4 are coming out like they are interlaced once exported as a quicktime mov file. I put the file through JES deinterlacer and this seems to have fixed the title problem. However this process of telecine, coversion, editing, export, jes deinterlace and youtube upload is very lengthy!
I'm not intending to show these films on an interlaced tv. I'm only going to show them on the web. Is there any way to set my frame rate to 25fps without the interlaced effect happening in final cut express to my titles? I'm a little confused to be honest!
Best
Kevin

I just set the field dominance to none for the sequence and exported it again as a quick time movie. The titles still appear to be interlaced as before? I then changed each titles field dominance to none in the timeline and exported but it has still made no difference?

Best tool for Inverse Telecining and deinterlacing ?

I have very limited experience in encoding videos before.
Recently I'm trying to transcode a DVD into H.264 with x264. All the VOB files are dumped already.
As for the video part, I've decided to do it this way :
mkfifo TEMP.y4m
x264 OPTIONS -o OUTPUT.mkv TEMP.y4m & mplayer -vo yuv4mpeg:file=TEMP.y4m OPTIONS INPUT.VOB
I believe this method to be clean and efficient.
The problem is: This VOB file is in NTSC format, and I'm pretty convinced that it's telecined, after reading this:
http://www.doom9.org/ivtc-tut.htm wrote:TELECINE is a process where the FILM first is slowed down to 23.976 frames/second. Then for every 4 frames, an extra frame is created from fields of adjacent frames. If a frame consists of two fields, top (t) and bottom (b) and the original sequence is 1t1b 2t2b 3t3b 4t4b, then the telecined sequence would be 1t1b 2t2b 2t3b 3t4b 4t4b (commonly called 2:3 pull down because of the alternating 2 field, 3 field progression). This also means that the frame rate increases to 29.97 frames/second.
I viewed the video frame by frame, and found out that there're 2 sequential interlaced frames out of every 5 in a non-static scene. These are 2t3b 3t4b frames I think.
mplayer comes with some video filters that might help: With "-vf pp=" the result isn't that satisfying, but "-vf pullup" do the job nicely, that is, I can almost see no interlacing at all with this command:
mplayer -vf pullup VTS_01_1.VOB -noconfig all
On the other hand, I also noticed that there're 2 sequential repeated frames out of every 5 in a non-static scene. The frame-rate is 29.970 fps. This is bad because repeating means inefficiency in terms of compression. The better result is using only one of these 2 repeated frames at a frame-rate of 23.976 fps, which means dropping 20% extra frames.
But I don't know how to achieve this.
I want to achieve this at the mplayer decoding stage, so that x264 is fed with a yuv4mpeg source stream with no interlacing or extra frames.
------------------------------------------------------------------------------------------+
I'm not familiar with mencoder's options, though it seems to be able to drop the extra frame with "-vf pullup,softskip -ofs 24000/1001", but I can't find a way to let mencoder output as yuv4mpeg. Also there is a reason why I tend to avoid using mencoder:
mencoder -ss 209 -endpos 20 -ovc copy -oac copy -o _short_.vob VTS_01_1.VOB
This is supposed to cut a 20-second short clip from the VOB using copy. But even task as this simple could be wrong...which is really disappoiting. Look at these 2 screen shots.
By using mencoder -ovc copy::
http://omploader.org/vMjE3Zw
The original (mplayer VTS_01_1.VOB)::
http://omploader.org/vMjE3aA
Maybe it's just my build of mencoder(compiled at home)... But with this I really can't say mencoder is to be trusted.
...Or, is it something wrong in my command?
-------------------------------------------------------------------------------------------+
By the way, for this specific DVD, I believe mplayer plus x264 together can achieve the best result; on the other hand, just as the title suggests, I'd like to find some decent tool to do IVTC and Deinterlacing. CLI preferred but good GUI apps are also welcome
Thanks in advance!
Last edited by lolilolicon (2009-07-25 03:31:59)

skottish wrote:You should be able to use the -vf pullup,softskip stuff still.
man mplayer wrote:Softskip
Only useful with MEncoder. Softskip moves the frame skipping (dropping) step of encoding from before the filter chain to some point during the filter chain. This allows filters which need to see all frames (inverse telecine, temporal denoising, etc.)
Actually, when I tried::
mplayer -vf pullup,softskip VTS_01_1.VOB -noconfig all
The result is the same as just using "-vf pullup". The extra frame can't be dropped by mplayer this way......
Too bad many "convenient" tools like h264enc all use mencoder. I don't know whether handbrake does too. Haven't tried it out.
Avisynth is a great tool but works only for windows. x264's built in deinterlaced mode does no good in my case. ffmpeg's filters are still too limited by far. What can I do? Is there anything that does nothing but good IVTC?
-------------------------------------------------------------------------------------+
Klepper wrote:It says to always use the softskip filter together with pullup
man mplayer wrote:Always follow pullup with the softskip filter when encoding to ensure that pullup is able to see each frame.
In my case, pullup seems to work better than filmdint: I've just tried the h264enc script which is almost totally a frontend to mencoder. Look at the mencoder filters it used:
mencoder VTS_01_1.VOB -o 01.avi -fps 30000/1001 -ofps 24000/1001 -vf filmdint=fast=0/io=30:24/dint_thres=256,softskip,harddup -oac pcm -ovc x264 -x264encopts <x264OPTIONS>
See, it also used filmdint as you suggust. The result is not too bad: removed the extra frame and plays at 24fps. But I can still notice interlacing occasionally. Maybe it's because the video isn't constant pattern "PPPII" but with some shifting (say, PPPIIPPPII...PPPIIPIIPPPIIPPPII, I found some pattern like this in the source VOB)
Man page says "io=<ifps>:<ofps>" must match "-fps/-ofps" ("-fps 30000/1001" and "-ofps 24000/1001" in my case.)
Since -ofps is an option ONLY for mencoder, but not for mplayer, filmdint can't make mplayer drop the extra frame like mencoder.
I played the VOB with "mplayer -vf filmdint=fast=0/io=30:24 VTS_01_1.VOB -noconfig all" and there're lots of "@@@@@@@@ Bottom-first field??? @@@@@@@@" spitted out in the console. I read about this in the man page but don't understand....
If the source is MPEG-2, [u]this must be the first filter to allow access to the field-flags set by the MPEG-2 decoder[/u]. Depending on the source MPEG, you may be fine ignoring this advice, as long as you do not see lots of "Bottom-first field" warnings.
I don't have any other filters in the command line, so... why?
The occasional interlacing is the same as the video encoded with h264enc. Also, it did not drop the extra frame anyway.
-------------------------------------------------------------------------------------+
Also I have a doubt:
In my first post, I wrote:
The original (mplayer VTS_01_1.VOB)::
http://omploader.org/vMjE3aA
But I think even this is not "original" -- not as good as the original video before it was telecined into NTSC format. I think it's mplayer not doing it good enough. The real original frame should have no blocking......
I've compared it to one fansub rip, the same frame looks better than in the image above, very little blocking, also the bass string isn't blurred like in the image above:
http://omploader.org/vMjE5aw
I don't know how they did it. And I actually want to do it better
Last edited by lolilolicon (2009-07-25 09:32:30)

Interlacing headaches

I've been given some ProRes files to work from in order to do an edit and make a DVD. The edit looks great in Final Cut, yet when I import the encoded in Compressor files into DVD Studio Pro I'm getting really awful 1-3 frame combing on some scene changes.
Some info on the two files I have been supplied with:
1. A film-sourced NTSC to PAL conversion (23.976 converted to PAL 25fps)
2. A film-sourced PAL 25fps telecine
I've edited the files together on a ProRes timeline and have exported to Compressor with "Progressive" selected as the output file.
Can anybody suggest a solution for this? It's driving me crazy.

Long discussion on this last week. If it started off interlaced, leave it interlaced. Especially if you're mastering to DVD.

Reverse Telecine with Premiere Pro

Hi All,
I had digibeta tapes that I captured at 740x486 and the client wanted us to do a reverse telecine on them which I did by creating a 24p DV timeline, dropping the video in and than outputed the timesline with the settings of Prores HQ (required), 720x480, 23.976, Progressive, DV/D1 .9091. The output definite did not look interlaced but a couple issues
a) Media Inspector the progressive flag is not appearing. It does not read the video as progressive.
b) Opening it in QT player it stated it as 720x480(654x480) and I need the display ratio to be 640x480 not 654x480.
c) Last they commented "There might be clean aperture tag, but just let them know the clap tag must be removed." which I have no idea what they are talking about here and would like some insight.
Thank you all for reading and any help is deeply appreciated here.
-john

After you get the footage to 24 frames (23.976), will the video be identified by media inspector as progressive scan?
If you have properly removed the 3:2 pulldown, it should.
But, you can trust what Premiere tells you.
Select the clip in the Project Panel and check the 'Info':
The 'p' denotes progressive scan.
note:
I don't use media inspector (I'm on pc).

30p fps to 24p fps when no interlace is involved

Hello: I've shot my clip in 720p60, then uncompressed it, edited it in FCP in a 29.97fps timeline sequence, export (using QuickTime Conversion) as H.264 at 29.97fps and the result is very smooth. When I export as H.264 at 24fps the result has a slightly jerky motion (possibly because every 5th frame has been deleted ???). What is the best method to convert from 30p fps to 24p fps (no interlace is involved) ? Thank-You, MLR

Broadcast stations won't EVER want to air things in 24 fps. Here in America, when they get 24fps material they do a process called telecine and ADD (or Combine) frames to get it to 30 anyway.
Leave it at 30.
Now, if you edited in 24 with native 24 material that would be a different story. You could add the telecine cadence onto your video and make it just right with a 'film-look'.
Here's what I suggest you do...
Call up MTV and ask them to send you their BROADCAST SPECS (often called a red book... or white book). They'll be happy to point you in the direction of it.
Also do it for PBS and maybe Discovery Channel.
Read EVERY word. Will be an education you couldn't EVER pay for. Might also open your eyes to how far over your head you might be.
Good luck...
CaptM

Mixed footage, do I interlace or progressify?

Im trying to make a demo reel, but my sources are a mix of progressive and interlaced, that is, not any one source is a hybrid, but that all sources are either or. Now obviously if i deinterlace footage the quality will go down the tubes, but what happens if i deinterlace progressive footage (as it will all have to be exported uniformly)? If instead i chose to export everything as interlaced, would there be a quality hit to my progressive footage?

Well, film is naturally progressive, but it was 24fps and i had it telecined to 30i, then deinterlaced it after exporting the final version, so now its 30p. The final movie is sitting in an uncompressed lagarith avi format.
edit: Just wanted to note that i deinterlaced it after finding that the interlaced export, once burned to DVD, stuttered and had a host of other problems that only went away after making it progressive. While i see the inherient answer that if all my projects are 30i thats there should be no problem keeping it interlaced, i have no doubts that the problems will come back if i dont keep it progressive.

Trying to go from 24P DV to MPEG4 for web - Interlace artifacts!!!!

I've tried a million different things but can't get this to work. I shot 24P (not advanced) on a DVX100. Edited everything fine, no problems. Looks great on a monitor.
Now I am trying to export out an MPEG4 quicktime for the web. I get interlacing artifacts. I tried using Compressor and exporting from FCP and Quicktime Pro. I tried doing a reverse telecine in Cinema Toolsat 24FPS which seemed to create a DV quicktime without the 3:2, but when I try to convert that file to MP4 the interlacing problems reappear.
What am I doing wrong? What can I do? Help is appreciated!

Yes, but Cinema Tools removes the pulldown based on timing - like removing every fifth frame. If the movie you feed it is made up of a number of clips with different cadences, Cinema tools will pull the wrong frames out of some of the clips. That's why I said it needed to be done on a clip by clip basis.
Does this make sense?
Patrick

DVCpro50 shot at 23.98 interlace problems every fifth frame ... help

I have footage shot on DVCpro50 with the SDX900 Panasonic camera at 23.98 frame rate and I have captured it with the AJ-SD93 Panasonic deck through the built in Firewire cable to my G5 dual 2,7 ghz sysem with a Lacie Porsche 250 gb drive.
I captured using a custom capture preset that I made using the DVCpro 50 NTSC compressor at 720x480, setting frame rate to 23.97 (initially and then tried 29.97 later) and checked Anamorphic as well (footage is 16x9).
The problem is that on playback the image appears to be tearing, especially on all movement. This happens when watching in Viewer and in a sequence (set to match the clips capture settings). When I step through the image frame by frame it is clearly every fourth frame which gets jaggy and the edges of moving objects seperate and "tear" and then it is fine on the next frame. This appears on both my computer monitor and on my NTSC monitor.
I assumed that meant it was a pulldown issue and tried adjusting the pulldown settings in the playback control to no avail.
I have done a lot of reading on this discussion board as well as much experimentation with different capture presets and have found only a very slight difference between capturing the footage at 23.97 or at 29.97. It looks slightly better at 29.97 but the problem is still there.
When I go to the desktop level and look at the quicktime files with the quicktime player they look fine. IE no tearing and smooth playback. When I step through the image with the qtime player every fourth frame is a repeated frame which is also what I see when I look at the master tape frame by frame with the AJ-SD93 deck cabled directly to a NTSC monitor. This I assume is the pulldown on the tape created by the camera when recording 23.97 video rate to the 29.97 tape.
So then I decided I would take the footage at 29.97 with the repeated pulldown frames since that looks fine on both the tape and the qucktime files BUT when I captured at 29.97 it played back once showing a "clean" image - no tears, the fourth frame a repeated frame BUT then when I played a second time it switched and began displaying the fifth frame as a "tear" again.
So then I thought this is simply a playback issue and if I edit to tape on the AJ-SD93 it will "pullup" the image and fix the problem as it goes back to tape BUT NO. The tearing was worse when I layed it back to tape.
SO what is happening? Can anyone out there help?
My preference is to capture at 23.97FPS DCVpro50 NTSC anamorphic and be able to play back with out any tearing.
Is this possible?

you should try capturing as regular run of mill video. launch cinema tools, import the video file, remove the telecine and then import the .rev file into fcp.
i'm assuming the sdx900 is writing the video at 29.97fps interlaced. changing the frame rate of the capture compressor is mucking up your workflow. try cinema tools, see what happens.

Hdr-hc3 problems! Interlace? PAL to NTSC

Hello. I am having problems editing a video shot in Sony hdr-hc3 PAL version. I captured in hdv and edited. In the timeline I put 25 frames per second. 1440 x 1080. 16x9... Compression HDV 1080i50
Well, I exported everything. Export/Current Settings. Then I burnt a dvd with dvd studio pro and when I look the video in the TV it looks really really interlaced. Everytime there is movement, the image looks double. Well, I have tried with after effects to remove the pull down but it's not useful. It seems it's not really a interlace problem because when I say to guess pulldown... it doesn't appear anything. I also tried with cinema tools... i did the reverse telecine... but doesnt work... or at least i dont have any idea what i have to do...
I also tried with compressor but the same problem... I dont know if I have to do something in final cut, after i export from final cut... or what i have to do with this problem. The motion looks horrible. HELP PLEASE!
Thanks a lot!

As a last resort (in case you are stuck which is a common fate of most users when dealing with this horrible legacy of NTSC frame rates) you have a simple solution that will produce flawless, no hiccups conversion from PAL to NTSC. You will need sufficient space, patience and willingness to accept 4% change in pitch.
a) edit your footage in 25 progressive. Export it as image sequence. Export audio separately.
b) In QTP import image sequence to NTSC frame rate 23.976. Add your audio (SCALED) to your movie.
c) Import your movie to 23.976 FCP sequence.
d) export it NTSC mpg2, which will add standard pulldown to bring it to 29.97.
(all this can presumably be done in FCP, if only one could figure out how!)
(Note to Apple.Please kindly note that 24 is not 23.98 nor it is 23.976, Your documentation is all over the place with no rhyme or reason. 24 can mean (FTC, QT) 24 or 23.976. Strangely 23.98 seems to be always used to denote 23.976. This is not nice nor professional and is awfully confusing)

Interlacing/telecine

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