Interlacing vs pulldown???

I listed a problem in AE's forum, but I was told to come to premiere to get the answer.
I have a project in Premiere CS5 and I created a title. I sent this title to AE to add some effects, but as soon as I added it, the title became interlaced and looked really bad.
In premiere, my settings are Standard 720X480 24fps Progressive DV/NTSC 0.9091.
Also, the item that I said has interlacing (or interlacing-like symptoms) is a title created in Premiere Pro CS5. No footage, no camera, just a title. Settings 24fps and progressive. I imported it into AE CS5 to add flares etc... AE settings are the same as Premiere. 24fps, 720X480 non interlaced (at least, in AE I cannot find an option on adjusting interlacing). As soon as it makes it to AE, it shows horrible interlacing.
I also thought, "maybe that's just how it looks in the editing programs. I'll export them and see how it looks." I exported both with the same export settings and Premiere export came out clean and AE's export (or pre-render) came out looking horribly interlaced.
In the AE forum, I was told that this was an issue due to "PULLDOWN". Being unfamiliar with pulldown, I looked it up. It seems that it has to do with transalting between 24fps and 29.97fps. But in my case, both the sequence settings in premiere as well as the comp settings in AE are set to 24fps. Can anyone tell me if this is indeed an issue with pulldown? If so, how do I remove it? How do I avoid it? How do I know when it will be an issue in the future? Even though this instance was with a title, I do a lot of filming with a sony DV cam. How does this affect me?
Terrified in Texas

DV can't record in true 24p. It'll always want to add pulldown. So be sure not to use any DV codecs for preview or export files.

Similar Messages

Converting 23.976 to 29.97i methods and confusion

Hey all, I've had a lot of trouble exporting spots out for broadcast using AME, and thought I'd see if the community here could help me out with some questions.
Some background first. Most of our footage is shot and edited in 23.976, then rendered out to a master file that retains the original framerate. Since most stations only accept 1080i footage, I use AME to convert the master file to either a MPEG2 or Quicktime ProRes 422 video that's interlaced at 29.97.
Everytime I use a preset or manually adjust settings, there's visible tearing/combing of the footage. Granted, I work at a smaller production house without a proper broadcast monitor to view playback on, but is this "normal" for watching video on a computer monitor? It seems like every other frame shows tearing, which makes me think it's more a problem with the deinterlacer than the encoder...
Second, I noticed that if I export an MPEG2 at 23.976 with a "3:2 pulldown" option, it forces AME to render "progressive". Quicktime Player X and 7 report a framerate of 29.97, while MPEG Streamclip and even AME read the file as 23.976. Any ideas what's going on here? Which framerate is it, and is it truly progressive or interlaced with pulldown flags?
Any other tips on getting a clean conversion from 23.976 to 29.97i would really be helpful, as I've been banging my head against a wall for a while trying to find the most efficient method to convert these spots.
Thanks!

is this "normal" for watching video on a computer monitor?
It is.
Whether or not you get flags or genuine interlaced frames depends on the specific format. The MPEG2-DVD option, for instance, uses flags, whereas the DV format will add real pulldown.

Workflow for uncompressed HD captured to ProRes (after capture)?

I've got an Intensity card coming in today for use with a Canon HV20.
There is an Apple tech note on 1080p24 HDV workflow for the HV20 (using Compressor to deinterlace and remote pulldown):
http://docs.info.apple.com/article.html?artnum=306389
What is the workflow going to look like with a 'live' capture from uncompressed HD to ProRes 422?.

Well, I connected the HDMI cable to the Intensity card and the HV20 and brought up FCP6.
I set FCP6 to "Intensity HDTV 1080i 59.94 - Apple ProRes (HQ). Made no changes on the HV20.
I opened the 'Log and Capture' window and could immediately see the camera's video.
I captured and it created a ProRes file that I could double click and open in Quicktime. Looked incredible!
Looking at the clip's info inside of FCP6 I see 1920 x 1080, 29.97 fps, Apple ProRes HQ, 26.5 MB/s, square, upper (odd).
Next steps are to remove interlace and pulldown (I presume I'll use Compressor for this)?
If I am successful at de-interlacing and removing the pulldown, how can I except to verify this using FCP6? Will the field dominance change from uppper(odd) to something else?
How can I tell, by looking at some settings, that I have completed my task?
Any comments on techniques/tips for reverse telecining will be welcome, as I'm very much of a newbie with FCP.
Also, is there a keyboard shortcut, or a way to create a keyboard shortcut for the 'capture now' button?
BTW - as my RAID has yet to arrive, I'm writing directly to a 2nd Western Digital RE2 drive, with no visible dropouts for the few seconds I've recorded thru a 10 meter cable.

Interlacing remains after pulldown removal

Using Cinema Tools 3.1.2.
I am attempting to remove the pulldown after transfer from film to video. All seems to have gone well, except... in the resulting file, there is now 1 interlaced frame every 4 frames. I used the default RevTel settings: F1-F2, New File, Conform to 24.0 (Yes Std Upper/Lower), Fields: AA/Style 1.
Does this sound familiar? What am I doing wrong here? Thanks for any assistance.

Hi cgtyoder,
Hope this isn't too late, I just saw your post. What you need to do is split the media file in two, either by digitizing separately or using media manager with the copy feature after making subclips, and do a reverse TK on them separately. If you don't have burned in timecode on the transfer (I assume you don't), you'll have to detect which is your A frame by looking at the interlacing pattern. To use the settings you have, your cadence should be (where C stands for clean frame a D stands for dirty frame):
C (A frame)
C
D
D
C
C (A frame)
C
D
D
C
C (A frame)
C
etc.
Let me know if you need more details.
Nayeli

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.

Frame blended interlaced pulldown frames...

Having an issue with telecine transfered footage (29.97 fps, NTSC) going through color. When it renders out I get a strange frame blended ghost image to any areas of motion. I have tried de-interlacing and not de-interlacing my renders to no avail. No color effects are being used.
The interlaced pull-down frames are the only frames with the shadow image.
Thanks in advance.
Message was edited by: avideditor

Did you reframe any shots in FCP? If so that info gets translated into Color's Geometry Room and cause problems. The following is a workaround.
Prep sequence and send to Color (or export/import EDL) as before.
Leave P&S settings untouched and do your grade
Save an archive of your project within Color
Remove geometries, save, close, reopen, render grades.
Then reload your archive within Color and send your sequence back to FCP (or export and import XML).
When you reload the archive Color will give you a warning about not being able to reconnect the renders (or something like that) but just ignore it.
It's pulled from a thread over at the CreativeCOW
http://forums.creativecow.net/thread/223/7110
-Andrew

Scale + Add interlace + Add 3:2 pulldown = Interlace missing

I've got a bunch of 16:9, 23.976fps movies that need to be converted to 4:3 letterbox, NTSC, 29.97fps.
Compressor seems to do what I need, but I can't specify the order so it seems to be adding the interlacing into the image BEFORE the scale operation. This causes the interlace to blur making it impossible to output correctly.
I need to scale THEN interlace, but I can't change the order with which things happen.
Am I out of luck?????? Does anyone know of a way to do this in compresssor?? Short of Creating a scaled movie then runing another batch to interlace.
... I'd rather use a utility like Compressor instead of After Effects to do this typ of thing.

You may be able to find your old contacts in '~/Library/Application Support/iPhone Simulator/' and manually move them to the 5.1 sim. I have not tried this myself.

Looks like a pulldown issue, duplicated frames are baked into transcoded files...

Have a bit of a messy project atm...this started with a client call on my way back from a festival where I ran large format video screens as a VJ & camera switcher/editor (Sasquatch in NW USA) so I was tired from 5 solid days of work. I dropped by their studio to examine an example clip…tired and thinking they had a good test case pulled up & ready to look at.
Well, the first clip we analyzed ONLY had shutter speed issues. Checking the source file/.mov it was apparent it was shot at a shutter speed closer to 1/1000 than 1/60, adding a bit of pixel motion blur in AE solved that... In retrospect his export from FCP7 had the pulldown problems in the EXPORTED version of the clip, but we hadn't checked that (we watched the source clip play back and he sent the reference clip with me so I could match the edit). So the issues that have been in almost all subsequent clips were not present in the initial analyzed file unfortunately!   When I got back to my workspace & the files were ingested it became obvious that there's a bad pulldown at work in most of the transcoded footage. The client had mentioned it looking 'choppy' and rather than just being motion blur it was a case of duplicate frames. Bad pulldown removal...
MOST of the footage as I have it is ProRes 4:2:2 LT 29.97p with every 3rd frame duplicated (1 out of 3 duplicated rather than 1 out of 5).   The ProRes format didn't come from a digital recorder in this case, it was transcoded from the source media using a software tool to organize & collect the source media and compressor to transcode for editing. Since these 2 episodes were left in the editing pile for months, the source files are obviously *no longer around*….
In the past I've dealt with reverse pulldown issues from 24p & 24pA (where the frames are either interlaced or duplicated to achieve the pulldown) but these all give a 5 frame cadence. Also when done correctly they don't destroy good frames and leave frame dupes. What we have here seems more like improperly handled PsF (via HDMI or SD output from 1080p cameras) or pulldown incorrectly applied to 29.97 over 60i/59.94i, or...?   In any case these are destined for 60i broadcast, so simply interlacing them again to create the 3rd frame is out of the question, and frame blending isn't much better than the dupe frames.
Removal of every 3rd frame which (since that = every 2nd frame) obviously gives a visual "jump" over the now removed dupe frame, and leaves footage has to be converted from 20p to 29.97 which looks horrible regardless of how its done (conformed or interpolated).    Removal of every 3rd frame from 29.97 is actually not too hard, as 2/3rds of the frames are still 'good' it's easy to
apply a conform to the file headers bringing the rate down to 19.98p, bringing that into AE and creating a comp that's set to 'preserve frame rate when nested' under advanced, then putting that into a 29.97 comp..., that works relatively well but the missing frames STILL need to be replaced somehow...
To make matters worse, some clips have a cadence that doesn't stay consistent (the repeated frames will 'jump' from every 3rd periodically), OR worse yet there are sometimes 4-6 duplicated frames in a row (???), and then other sequences have only occasional frames repeated (meaning they need to be identified manually by stepping frame by frame). Some of this is potentially due to rounding errors in the pulldown, but there's got to be something more amiss as is evident by the other inconsistencies...very odd.
In any case what do to about the 3rd frames that need to be 'repaired' or 'created'? This is the crux of my issue, and software interpolation alone isn't going to cut it... Since a simple pass on the entire clip(s) causes vast sections get time stretched (not just every 3rd frame synthesized but rather the whole thing interpolated), I tried going in and setting timestretch keyframes manually (so I could manually stretch the area where the 3rd frame needs to be 'created). As the software applies motion techniques that obviously assumes the distance between frames in both directions is equal...well it just replaces 1 visual problem (dupe frames) with another (visual distortions).   This has been the case with ALL the software tried so far...
I've tried AE's native higher quality mode (rather than just frame blending, which will look awful. Twixtor (demo) in AE, Smoke (autodesk), DaVinci Resolve (Light version but I have access to the GPU accellerated version as well) & Apple's Motion. All do a horrible job (FootageFIxing directory examples in dropbox) of handling this automatically, which I expected. However I had originally intended to simply 'replace' every duplicated frame using the interpolated footage, this resulted in WORSE matching to surrounding frames due to the poor interpolation not matching up well on many frames than frame blending, not better (portions of the frame 'jump' out of alignment with both the previous & following frames, after analysis it acts like a spine with a midpoint that is not parallel to a line drawn between the start & end points).
So dropping 29.97 to 20p then synthesizing every 3rd frame (until cadence jumps) is where I'm at. Once done synthesized frames have to be checked and a huge % of them (when there's motion on a person in the scene or camera pans etc) have elements…or whole frames…that are incorrectly synthesized. So pieces of surrounding frames have to be roto'd & composited into selective areas to 'patch' the portions that get 'squashed', 'stretched' or 'rippled' into position (VERY VERY noticeable).
Lastly, due to a variety of shutter speeds used the motion blur across frames is also an issue, so once a shot has been correctly re-synthesized for the missing frames it must be evaluated for whether motion blur is required, which brings us back to the rendering process that was assumed at the start of this (in other words final output of each clip may need motion blur in post before delivery).
At this point I'm left with doing the synthesis of the 3rd frame and 'repairing' the areas of that which distort too heavily, or duplicate (some of the camera pans are done to track high speed motion, birds flying through frame etc)...
Anyone have any interesting techniques I could try, beyond telling the studio I'm working with that they're hosed (that discussion is coming but I'm going to show best efforts and the timeframe required to achieve that across all shots/edits)....

Oh and the easier way to removing the dupe frames was just to drop it to 19.984, set (nested) comp advanced settings to 'preserve framerate when nested' and watch for the occasional rounding error when back in a 29.97 container composition. It would be nice to be able to specify 29.976...
In any case the missing frame needs to be replaced, not removed. The visual jump i that gap actually looks to be closer to 2 frames when motion of objects is estimated by hand.
Also (as I think I mentioned) other clips seem to have even further oddities.
The reality is that I can actually create smoother motion by doing a lot of hand massaging of the footage (scaling previous frames in simple pans, hand-rotoscoping/masking/compositing in sections of frames around missing ones to synthesize motion in onscreen talent & background objects, things tracked across the screen by the camera and so on.
But that's a heck of a lot of work and probably beyond what's achievable at present I suspect...

How to remove 3:2 pulldown properly from 24p SD 16:9 NTSC footage (After Editing)

Hi,
I'm currently editing a full length feature film and originally imported all the footage directly into final cut making the timeline become a 29.97 timeline, when the pulldown should have been removed before the fact. After much research I know that you can properly remove the 3:2 pulldown from the 24p footage after editing and can be done in compressor. I've tried a number of different compressions and seem to have the dimensions correct which is good. But the 16:9 footage when brought into iDVD or dvd studio pro it seems to want to make the footage 4:3 which is quite confusing and frustrating. I need to be able to get my compression settings correct so that i'm able to put this on a dvd properly. I originally exported the footage from final cut as DV/NTSC and made sure it was 16:9 coming out of final cut. The resolution is 720x480 but comes out as 853x480 as its dimensions and has a squeezed look to the video as it did on its timeline unless the preserve aspect ratio button was unchecked. The only way around getting the squeezed look to go away is to go through compressor and make sure that letterbox is turned off so that its a full screen. Even though its a large file size I compressed using apple pro res to get the best resolution I could, but I need the best results with the lowest file size since the running time is roughly 1:43:00. The footage looks good coming out of compressor, but for some reason even though its full screen 16:9 everytime it is brought into iDVD or dvd studio pro it wants to make it 4:3? what is the reason for this! I recently read an article on this problem and the reverse telecine option within compressor is used to remove the extra frames that final cut adds, and makes the video of better quality relieving the horizontal lines that are caused by the extra frames. I need help on this and I know it can be done because people have proof that it works but I can't seem to reach a solution myself. Thank you to all who reply much appreciated!

What happens when you drop a 4:3 clip - with its anamorphic flag cleared - into the 16:9 sequence ?
I have not been doing exactly this, but I have been going the other way, to produce letterboxed 4:3 footage from 16:9 HDV.
I found, when dropping the clip in, FCP automatically set a scale and distort, to correct for the differnce in aspect ratio - does it do this for you for 4:3 SD on a 16:9 SD timeline ?
Remember, you have to re-open a clip, from the sequence timeline, to see its motion settings in that timeline - I keep forgetting this, drop a clip on, then wonder why nothing I change on the clip happens in the sequence!
Regarding the final output, it all sounds fine, except for the possibility of the 4:3 TV output - the 16:9 footage would be okay letterboxed, but the original 4:3 footage would be better 1:1 - if you had to pillar box the 4:3 in the 16:9 (probably what FCP would do by default) and then letterboxed that when making the 4:3, you'll end up with a box in box, plus interlacing problems from the rescale.
I would consider making a second 4:3 sequence, once you have finished the edit on 16:9, try copying all the 16:9 edits (Cmd-A, Cmd-C) and pasting them into the new 4:3 (Cmd-V) - then its a case of leaving the 16:9 letter boxed, or zooming and panning it for 4:3, and removing the scale / aspect from the 4:3 sequences alltogether, so they play normally.
Messy - isn't it ?
Good luck!
PowerBook G4 Mac OS X (10.4.4)

Cinema Tools doesn't recognize pulldown cadence on 24p DVCPRO 50

Hi everyone, I'm hoping someone can give me a couple suggestions on this...
I've been capturing 24p material for a documentary from different sources and with different pulldown cadences: DV @ 24p and 24p Advanced, and DVCPRO 50 @ 24p.
The extra frames from the two DV types get removed properly, but not from the DVCPRO 50. I take a clip into Cinema Tools and hit 'Rev Telecine..' (Automated so no options to choose from) and it gives me a 23.98 clip with the what should be the C frame interlaced. (A B C/D D)
It looks like CT is removing 2:3:3:2 'advanced' pulldown and not the normal 2:3:2:3, like it's reading the metadata in the clip wrong. Does anyone know a way to manually set the type of pulldown--either in Cinema Tools or within the metadata of the clip itself?
Thanks in advance,
Will
Dual 2.7 GHz G5, 4.5 GB RAM Mac OS X (10.4.2) FCP 5.03, Cinema Tools 3.03

I didn't know therre was an Automated way either until working on this project, and maybe it's a new setting in Cinema Tools 3. The manual says that CT will recognize the pulldown on the clip automatically when it was shot in a 24p video camera, that this information gets embedded in the clip. The dialog box it gives you for the automatic reverse telecine has no options at all, and all my clips started on an A frame for the possibility of doing all as a batch.
I may have found what happened, (although not how to fix it). My capture setting had Remove Advanced Pulldown checked, and the tapes were recorded with regular pulldown. In my experience with DV footage this has never mattered, it would remove it if it could and if not leave the clip alone.
It looks like there's a bug somewhere in the DVCPRO 50 capture process--that the clip is has the 24p Advanced markers embedded even though it is regular 24p, and so Cinema Tools treats it improperly and removes the wrong frames:
24p Advanced (2:3:3:2) A B B/C C D 29.97 Footage
24p (2:3:2:3) A B C/B C/D D
I I 0 I I (CT removing 2:3:3:2 Pulldown)
24p Advanced A B C D
24p *my result* A B C/D D 23.98 Footage
Has anyone else encountered this bug? Any work arounds known?
Thanks,
Will

Problems with pulldown In Cinema Tools

I am attempting a pulldown on some footage shot at 24pA on the Sony V1U (which I was told on this forum was not real 24p and therefore did not require a pulldown but found out from Sony that it is) and captured at 29.97. Looking at the Quicktime file before the pulldown, every 3 frames are clear followed by 2 blurry ones (which I understand to be blurry due to being interlaced.) After the pulldown in Cinema Tools, 1 frame is clear and 3 are blurry. This gives the footage a "stuttered" or "jittery" look when viewed on an NTSC monitor. If I am editing this video with 29.97 video and my final export is NTSC, what is the best gameplan for dealing with the pulldown issue? To pulldown or not to pulldown? That is the question.

If you're not getting a clean pulldown removal, I wouldn't bother. The only reason to edit at 24 in standard def is if you're trying to author a 24fps DVD (which allows you to get better quality at a lower bitrate).
I don't have any experience with removing pulldown from material shot with this camera. I have removed pulldown from a film to tape transfer. I simply kept trying the different options available in cinema tools til I got a clean 24fps (actually 23.986) quicktime.
Message was edited by: Michael Grenadier

Why use interlaced ?

We shoot with DVCpro50 at 24p.
A few questions.
1. Is there anytime that there is an advantage, or a time when you have to use field dominance ?
Interlaced footage looks like crap. Stills look horrible in an interlaced timeline - why ever use it ?
It seems I can just switch the field dominance from "lower/even" to "none" and everything looks 10 times better on computer and NTSC monitor.
2. Is there anytime that there is a disadvantage to removing the pulldown and editing in 24fps. It looks 10 times better without the screwd up "B/C & C/D" frames if you leave it in and edit at 29.97fps.
3. is there any advantage or quality enhancement by removing the pulldown in "Shake" rather than letting FCP do it while capturing. And after removing, should your sequence timeline be set to 24fps or 23.98fps and why ?
4. Have G5, OSX 10.4.8, AJA IO hooked up to NTSC monitor, and can't view 24fps timeline on external NTSC monitor - only frames when parked - is that because these monitors will only accept 29.97 field dominated footage ?

Fist off - thanks for the help on part 4.
I know how TV works and why NTSC was invented over a half century ago.
Now that I can monitor on the external I will always edit in 24. I'm only the editor - they shoot with a SPX900 in 24p - if you don't remove the pulldown, frames 3 & 4 out of the 5 frame cycle combined with the interlacing gives really bad results. So out of curiosity I switched the sequence dominance setting from "lower/even" to "none" - at this point is ii still treated as interlaced or if it is set to "none" is it now progressive, like when you are editing in 24 and the field dominance window is greyed out. I would think that this would look jittery on a TV because the field order isn't right - but it doesn't - I can make DVD, VHS(not sure why), and monitor and the only difference is that the stills look incredibly better - there's no banding and stair stepping on the shoulders- on either the computer monitor or the NTSC monitor. And with it set to "lower/even" the bigger the computer or TV screen the worse it looks - but with it set to "none" the stills just get softer as you view them on bigger screens as if the right amount of gaussian blur was being added automatically - Isn't that wht you want ?
So that was why I ask "why use interlace" if you have a choice?
I'm not trying to be cool - these are ligitimate questions. I consider this doing my homework - isn't that what forums are for - I help people with answers all of the time.
As for part 3 - Does "standard pulldown" refer to going back & forth between 24fps (film) and 29.97 (video) and "advanced pulldown" from 23.98 to 29.97 ?
Are all of these modern video cameras actually shooting at 23.98 ?
2 G5s 1.8Ghz single & 2.7Ghz Dual (PPC) Mac OS X (10.4.8) FCP Studio 5.0.4, Shake 4.1, AJA IO, 1.5G RAM & 3G RAM
2 G5s 1.8Ghz single & 2.7Ghz Dual (PPC) Mac OS X (10.4.8) FCP Studio 5.0.4, Shake 4.1, AJA IO, 1.5G RAM & 3G RAM

Interlaced frames after using Apple directions for Canon HV30 24p

I have an Canon HV30 HDV video camera and clips that have been recorded using its 24p mode. I'm using the instruction Apple has given to remedy this type of footage in Compressor and output to Pro Res:
http://support.apple.com/kb/HT2410?viewlocale=en_US
I've tried this method a couple of times and carefully also. Everything seems to work well other than the fact that I am getting interlaced frames on the last one or two frames of each clip. Sometimes it's the beginning of the clips. As they are supposed to, clips are changing to 24p and when I step through a clip frame by frame everything looks fine, except for those last couple frames. Other methods, like using JES Deinterlacer, do not produce these distorted interlaced frames. However I would prefer to use Compressor. Could it be that I changed some setting or preference in Compressor a while back that is affecting these clips right now?
Please help!
Once again, using Final Cut Studio 2 and a Canon HV30 with 24p clips.

Hello,
I experienced the same thing. But I feel that the first second or two of any clip is not useable, when
editing I have never needed every last frame.
This is not much of a help to you. I think it has to do with the mysteries of HDV, Long GOP, and 2 t0 3 pulldown and the complex post processing that must happen to yield 24 full frames.
Good luck, Tom

Interlacing issue

Hi there I was hoping to get some help on what may be a streaming/compression issue. I'm doing online videos with a Canon Legria HF M41 which is CMOS and not truly progressive.
They're basically guitar lessons and while they appear fine through iMovie and Quicktime and also on my You Tube channel, the strings appear broken, jagged, artifacty, dashed i.e. not right in other words, when I stream them from the server (Blue Host ) through to Acrobat X Pro documents. The size and quantity require streaming and not embedding.
I'm using iMovie (with Quicktime Pro export options) and exporting using Movie to Quicktime Movie.
The Options.. settings i've got are as follows :
Compression: H.264
Quality : High
Frame Rate: 30
Bite Rate: 128kbits/sec
Encoding mode: multi-pass
Dimensions: 960 + 540 (Current)
Deinterlace Source Video = Clicked on
The Prepare for Internet Streaming box is clicked and Fast Start is selected.
The Data Rate : automatic
Optimised for : Download.
I'm wondering if it should be set to Optimised for : Streaming . With some adjustments in the kbits/sec box ?
I think the problem seems to lie somewhere between my compression settings and Acrobat X Pro or do I need to be thinking about a video camera update.
Any help would be appreciated.
Signed
Out of my Depth!!!!

You are seeing interlacing because you shot in 24P. 3:2 pulldown frames are normal. Until you send it to an external TV/Monitor, you cannot judge the output.
You REALLY REALLY REALLY should hook up a TV/Monitor it is not that hard. If you have a camera, you can do it. If you have a deck or an A-D converter you can do it. Going from zero and buying new parts, you should be able to add it for less than $350.
Patrick

Some Pulldown Advice Needed

I'm working with some video of legacy films, some >50 years old. Unfortunately, much of the original film is unavailable to me. What I have is either DVD or sometimes VHS copies of the telecined results.
When I read about pulldown, it talks about a 3:2 pattern consisting of 3 whole frames and 2 with interlacing. What I instead see seems to be 2 whole frames with 3 interlaced in the five frame group. It also appears that the cadence may not be uniform throughout. If I look at the pattern a some point, and then look at some multiple of 5 frames later, the pattern seems to have shifted.
I've tried all the different options to reverse telecine the clips, but nothing seems to work consistently through the whole clip. Sometimes major sections seem to have been fixed, but later on there is trouble. Is there anything i can do with Cinema Tools to solve this, and is this pattern a telecine result or are there other issues involved.
Message was edited by: Eugene Cronshagen
Message was edited by: Eugene Cronshagen

hello Eugene C,
there are good descriptions of the 3:2 frames to fields relationships elsewhere ... i believe even the FCP manual may have this covered now.
as to irregular cadence of the pattern ... this could be caused by a number of things, but the most obvious i can think of are:
- video fields doubled somewhere during a bad dub or encoding process
- editing of the video after telecine
if there are obvious edits in the video material, you may try breaking it down into separate shots (one quicktime per shot) and doing reverse telecine on each shot, each one having its own cadence.
if not, you may be stuck doing lengthy troubleshooting ... do a reverse telecine on the whole clip so that it begins correctly ... find where it starts to go incorrect, go back to the original, break the clip there, repeat the process starting with that clip.
there is another possibility: that your original film was not transferred with proper speed lock and therefor improper and irregular 3:2 and pulldown occurred ... if this is the case, the 3:2 cadence will change in the middle of shots with no apparent pattern ... if this is the case there is no real way (easy or otherwise) to remove the irregular patter of doubled fields.
R.

Interlacing vs pulldown???

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