Mixing Progressive & Interlaced = confusion

I'm working on a project where half the footage was shot Interlaced with a Sony camcorder and the other half progressive on a Canon 7D.
I've done some testing in FCP 6 using an interlaced (field domiance set to upper) sequence and a progressive (field dominace set to none) sequence and inserting one of each clip. Both look fine until I apply a 50% speed reduction (which I will do a fair bit in this project). On each sequence the non native clip looks jittery when motion is slowed down.
The best result I had was using the interlaced sequence and applying a deinterlace filer to the progressive footage. It doesn't make sense to me but it removes the jittery motion and looks cleanest (on my imac monitor). Still I'm confused as to whether this is the best path to take or if I should be trying other stuff.
Clip specs
Sony size: 1440 x 1090, fps: 25, compressor: HDV 1080i50, Field Dominance: Upper
7D size: 1920x1080, fps: 25, compressor: Apple ProRes 422, Field Dominance: None
Suggetions/advice appreciated.

Try sending the speed changes to motion and making them optical flow. Much better results than within fcp.

Similar Messages

Mixing progressive and interlaced in timeline.

I am video recording a pageant this weekend. I was planning on shooting my Panasonic Ag-HMC150 at 1080i60. My b-roll cam is a Canon Vixia HG21 which only shoots at 1080i60, so I figured I'd just go interlaced on Panasonic as well. I don't need a film look or anything, so the video look for this live pageant is fine for me. However, now I have a friend who will be shooting with me as well. He will be roaming on stage getting shots of the girls exiting/entering etc.. He is shooting on a 7D, which to my knowledge only shoots 1080p24/30. I do not want to go the 720 route with the Panasonic or 7D. I guess what I am asking is it ok to mix progressive and interlaced video in FCP? My sequence shooting my two cams interlaced will be Pro Res 422, upper field first, 1920x1080. I guess I am curious if anyone has mixed the two types of video together before. Maybe I should go 1080p30 on Panasonic to match the 7D and just worry about deinterlacing the video from the HG21, even though deinterlacing still won't make it progressive. Another thing I considered was I will be doing a lot of quick panning and zooming, so to me it made more sense to go 60i verses 30p, for smoother motion and reducing any chance of strobing at the lower frame rate.
Thanks for the help.

If I had the ability to test them before the event, I would, hence the question. I will not see him until Saturday when he shows up with his 7d, and my HMC150 is out being used for another project right now.
I guess what I need to know is this. I am going to have 2 extremely long interlaced files, and 1 extremely long progressive file. After I convert the interlaced stuff to Pro Res in FCP (log and transfer) and convert the progressive h.264 mov files to Pro Res from 7d in Toast 10, I will start my edit in FCP. Because I need to turn this around into a DVD quickly, I am wondering if field dominance should be set to none, or upperfield first? Like I said, this is all going to DVD anyways so I am practically throwing away half of the resolution anyways.

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?

Any insight on: interlaced 'confuses' h264 encoder?

question for encoder pros ... :
I do read in some fora, that esp. QT's h264 doesn't deliver 'good' quality, if source is interlaced (dv, 1080i, ..). in my own, simple words: due to splitting a picture into fields, the h264 doesn't 'recognizes' the vertical surrounding of a pixel, compared to a p-recording ... sounds odd, but somehow reasoned. does it?
do you know of any source, where I can read more about this?
(more of acamdemic interest, my workflow is 'progressive'-only.. )

Jeremy Hansen wrote:
... I'd be curious to read the source of what you found, ...
as mentioned: single posts in German-spoken fora (e.g. finalcutprofi.de) , no websites, .. didn't bookmark, just remembering the flow of thoughts:
• h264 is optimized or 'made for' frames.
• when the odd and even lines of a frame are stored in separate fields, the compression isn't as effective as with 'solid' frames.
.. found same 'idea' in some other threads, comparing h264 and x264 ..
.. but I have a suspicion that it is based on a fundamental misunderstanding of interlacing.
possible to share that +fundamental misunderstanding+ in two, three sentences..?
I'm no beginner, but no engineer.
I know about the historic need of interlacing, in times of aerial broadcast and tubes, and I do know, any 'flatscreen', TFT/Plasma/LED, .. doesn't use interlacing.
but this thread shouldn't compare the good&bads of i vs. p - just: can h264 handle i-sources as good as p-sources.. ?

Progressive/Interlace Issues

Hello-
I have a clip that looks interlaced but file info says it's progressive. I'm pasting a report below that has the clip details as well as a screen shot. I have tried to deinterlace in FCPX, Compressor 4.1, Episode Pro, and a bunch of other apps. Nothing works. I'm just about to give up but maybe someone understands why this interlacing seems to be "baked in". Any help is appreciated.
Thank you.
Format                           : MPEG-4
Codec ID                         : M4V
File size                        : 174 MiB
Duration                         : 5mn 23s
Overall bit rate                 : 4 524 Kbps
Encoded date                     : UTC 2014-09-15 23:21:35
Tagged date                      : UTC 2014-09-15 23:21:35
Video
ID                               : 2
Format                           : AVC
Format/Info                      : Advanced Video Codec
Format profile                   : [email protected]
Format settings, CABAC           : No
Format settings, ReFrames        : 3 frames
Codec ID                         : avc1
Codec ID/Info                    : Advanced Video Coding
Duration                         : 5mn 23s
Bit rate mode                    : Variable
Bit rate                         : 4 391 Kbps
Width                            : 1 152 pixels
Height                           : 720 pixels
Display aspect ratio             : 1.600
Frame rate mode                  : Constant
Frame rate                       : 30.000 fps
Standard                         : NTSC
Color space                      : YUV
Chroma subsampling               : 4:2:0
Bit depth                        : 8 bits
Scan type                        : Progressive
Bits/(Pixel*Frame)               : 0.176
Stream size                      : 169 MiB (97%)
Language                         : English
Encoded date                     : UTC 2014-09-15 23:21:35
Tagged date                      : UTC 2014-09-15 23:21:35
Audio
ID                               : 1
Format                           : AAC
Format/Info                      : Advanced Audio Codec
Format profile                   : LC
Codec ID                         : 40
Duration                         : 5mn 23s
Bit rate mode                    : Variable
Bit rate                         : 125 Kbps
Maximum bit rate                 : 259 Kbps
Channel(s)                       : 2 channels
Channel positions                : Front: L R
Sampling rate                    : 44.1 KHz
Compression mode                 : Lossy
Stream size                      : 4.83 MiB (3%)
Language                         : English
Encoded date                     : UTC 2014-09-15 23:21:35
Tagged date                      : UTC 2014-09-15 23:21:35

Ok, I can't explain that, but, other items in the Setup are available only to certain types of footage (e.g. the Anamorphic flag can only be applied to SD footage.) I did say, however, that Deinterlace is not necessary if the appropriate Field Dominance was set.
In this case, I believe you're right and the interlacing is "baked" into the progressive frames. FCPX wouldn't know to take any conforming actions to the footage.
Give this software a try: JES Deinterlacer . It comes with fairly comprehensive documentation with the download. I believe it will deinterlace pretty much anything, whether it's truly interlaced or baked. (I believe VLC will also, but vlc doesn't support enough bandwidth to make it worth using.) In Mavericks, your System Preferences Security is likely set to allow running software from Mac App Store and Identified Developers -- you will have to change that to "Anywhere" in order to run this software. (It's a little old and unsigned... I've tried it and it does *run* in Mavericks [whether or not it still works, I haven't tried, but it used to — very well.])
PS - if you get the interlacing problem straightened out - remember to reset the field dominance to progressive.

Progressive Downloads Confusion

- Is there a benefit to hosting FLV files on a Flash Media Server when they are under 2-3 minutes?
I've been working on a couple different video projects as of late... some are simple web player with 30 second ads and others are working with longer videos like 2-3 minutes. I currently have an FLV hosting provider running Flash Media Server but with videos so small don't they download for the user as progressive anyway and there is no real benefit whether I am using my FLV host or my traditional web host?
Also in a related, yet unrelated question... I also use a separate video hosting company to handle my mobile videos mainly because I am a bit naive on how that works as well. I had a project with straight links to play video on mobile phones (with three different version served up based on OS). But it seems like most of those were progressive downloads as well.
So what gives?

See it does not depend on duration per se - it depends on various other aspects. See in PD , your files actually gets downloaded to client's machine - so content can ripped off unlike in streaming. So if don't want content protection and various other features which comes with Streaming Servers than you might go for just PD. Also instead of doing PD , you can do HTTP Streaming - that is smarter way than doing progressive download. But having said that Streaming gives you many advantages basically FMS that you might not look and consider before switching to pure PD or http streaming.

Setting Progressive Wrecks Output Quality

I have a Premiere sequence that contains only progressive footage, all comps rendered from After Effects. The Premiere project is PAL widescreen, which by default sets to Lower Field first.
The client wants this as MPEG2, so I add the sequence to Media Encoder. It reports the source as Lower Field, as it would, but I need the output to be Progressive, so I set that in the Basic Video Settings dialog.
I can see in the preview that the quality deteriorates severely, with edges pixellating and textures fizzing and swimming through shot as the camera moves. Nasty.
If I set the output to Lower Field, the quality is fine.
I don't understand why setting Progressive, deinterlacing, is doing so much damage to the output - it's wholly unacceptable to me and the client, but I'm a bit stuck and need some help please.
The client is putting this movie onto kiosks, and the media players they use, according to the supplier, need CBR 5.5 Mbps and Progressive. I can query why not Lower Field, but that aside, it's this issue of setting Progressive doing so much damage.
Thank you for any help.
Julian.

I think I've figured out how to sort this out.
I found this thread:
http://forums.adobe.com/message/3780954#3780954
Which is a not dissimilar issue, at least on the quality hit. So I created a new sequence, but this time changed the default Lower Field First to Progressive, in Sequence Settings. Now I'm getting the expected decent MPEG2 output - progressive footage, progressive sequence, progressive output.
I went through alot of formats this morning, both in Premiere and Media Encoder, but in every case, outputting the Premiere sequence (set to Lower Field) as Progressive, resulted in badly degraded video.
I guess what threw me was that I jumped from Premiere Pro 6.5 to CS5.5, and in Pro 6.5 I recall you would set a PAL Widescreen sequence which was Lower Field first, load up both progressive and interlaced footage, edit that, then output a Progressive file without problems.
I'm wondering now what CS5.5 is actually doing to cause this issue, and indeed what I should do if I need to mix Progressive and Lower Field ... on this experience, use a Progressive sequence I guess. I suppose I had better run some tests and get familiar with how and what.
Julian.

HD Upper or lower interlace or not that is the question

Ok Im a bit confused and cannot seem to get a straight direction on this. I shoot in 30fps 1080i, I capture in HD via firewire, I edit and when outputting for regular DVDs do I encode UPPER FIELD first since the source media is HD or LOWER FIELD first because it is doing to DV.
When encoding with Media Encoder should I check the deinterlace button when encoding HD for a DV project going to encore or not check it...that is the question.
Where is my Commedore 64 when I need it?

Choose the correct field order for your
export format when exporting, in this case DV.
Choose progressive/interlaced depending on your export format when exporting. Since DV is interlaced, do not de-interlace.
Who needs a Commodore 64 when you have a Vic 20! ;)
Cheers
Eddie
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HDV to PRoRes Progressive

I need to make HDV 1080i clips into ProRess 422 Progressive
Should I use: Advanced Convertion > Apple Codecs > ProRes for Interlaced material 8 bits > image control for a progessive output
Or another setting??
Thanks.
b. Can I mix Pogressive, Interlaced, HDV and ProRes in the same timeline and export it via the QT convertion ProRes (for an Import into Compressor for MPEG2).

I've got and used 7toX. Works great.
The ProRes 422 is already a lot higher resolution than my HDV, so maybe the 'optimization' might be a way to go.
I would convert beforehand with Compressor, but there are 4500 shots. I'd be converting for a week.
Rather than bring the whole project over at once, I want to load in a scene at a time, get used to FCPX, and be able to back out quickly (and return to FCP7 or Premiere) if I find I have trouble with FCPX. But after badmouthing it for a year or so I'm startled to find it looks kind of inviting ... they've done an awful lot to it since I first tried it.
I guess I'll bite the bullet and try a few scenes.

Export Media from DV Pal to AVI: Best recommended setting for Output file?

I have a project in CS4, on Windows, in DV format (original videos were M2t).
What is the optimal setting for export (and possibly for the sequence settings too) for the best quality and then smallest size?
If my input is M2T files - is the best settings to work in Premiere is DV 1 for Pal?
I always use Progressive Interlace - is that required or is the default of Lower field OK as well (I am not sure exactly what is the impact of using just one field, but from previous versions of Premiere Progressive always improved the video image)?
Is the frame rate of Pal as 25 FPS must be adhered in the sequence setting and export to avoid re-rendering?
As for the Export side:
Is using the DV Pal is best for quality without going uncompressed?
Is starting with 16GB of DV as m2T and ending with 20GB of DV reasonable?
Is the method of exporting to DV and then compressing it using a 3rd party is the best way going about the creation of the movie and then compressing it for distribution?
What is the the recommended tool for compressing - and with which format?
The end result is meant to be consumed as an AVI on people's desktop. Not on mobiles or YouTube or DVD.
On BitTorrent I see many files that are in HD but have an amazingly small size of less 1 GB - what do these guys use to achieve such small sizes yet amazing quality?
What is the best tool and codec to achieve a compression based on a file size?
Is DivX better than XVid? And is "Multipass nth pass" is the way to configure the DivX for best results?
I really feel we lack any guidance on these aspects and a huge of time is wasted every time I get to this stage when it should all be pretty standrad for me.
I know I am asking a number of question but if someone is able to jot down the basics of the tool, codec and settings to achieve best quality (regardless of the time it takes to get to it) - I'd be very grateful!
Merry Xmas and a Happy New year to all,
Eroka00

I find your post somewhat confusing.
These m2t are they converted?
Run a file that you are using in Prmeiere through Media Info and post a screendump.
http://mediainfo.sourceforge.net/nl
What is the endproduct going to be? YouTube, DVD, media player or .....

How do I export to DV "Full Quality" in iMovie 2009?

The old iMovie used to have a full quality export that would produce a .dv file.
Newer versions of iMovie have a "DV Stream" option, with settings (Progressive, Interlaced, Audio rate, etc.)
I want an absolute, full quality archive of my iMovie project, as sharp and perfect as I see it in iMovie. None of the DV Stream options seem to produce that. The titles look jagged, for one thing.
I want to export my iMovie project so that if I need to re-import it later into iMovie, no quality is lost. I don't care how big the files are, I want FULL QUALITY.

Thanks for breaking this down for me, Sheryl, and thanks to everyone who took time to read my quest and fire off suggestions.
I will look for the AIC export option and try to select the maximum quality settings available for it, and then hand that resulting file to my producer.
I have an old Mac with iMovie HD on it, so I will also try importing the AIC export into that and the exporting to DV, as that DV seems like it would be better quality than the DV coming out of iMovie 09. (I seem to remember doing DV exports back in 2006 and being quite happy with the results, which is why this process has been so confusing for me now.) If the producer NEEDS a DV file, I reckon that's the best I can give them right now.
The consolidate project option sounds VERY COOL. I had no idea that was possible! For working between Mac users, that might be just the ticket I need. That also sounds useful when trying to throw away all the extra, unused footage and just keep the parts of the footage that I actually ended up using, but may want to tweak titles and effects later.
Long term, it sounds like I am going to have to transition to FCE or FCP. I will go surf the Web for reviews and impressions of it. I'd be happy to hear more about people's opinions. Investing time, energy and money into a new tool does not appeal to me, but I am definitely going to need full quality DV exports sometimes (anytime we want to get our PSA on the local television channel, for one).
I guess iMovie is still useful for my mini-YouTube fun time projects, (my latest: http://www.youtube.com/watch?v=g9TrAZ4yCDQ), but it is a shame that it can't produce something in which the future-proofing is limited only by source quality, not the software's output quality.
(I don't mind limitations based on source quality, them's the breaks! But potentially losing source quality forever because of shackled software is... GAH unforgivable.)
-D

HVR-V1u HVR-1500 capture Easy Setup

Hello,
Shot on V1U 1080i 30p - now capturing off of HVR1500, it's only reading 1080i60 though...
I captured at Easy setup HDV 1080p30 for the last few tapes, but it felt a tad jumpy... the setting on camera was 30p 1080i, a mix of interlaced and progressive? So the 1080p30 was the wrong setting?
So I looked online, and in the release notes for 6.0.2 it says to capture for Sony HVR-V1 1080p30 on easy setup 1080i60 - the progressive scan will be preserved... is the V1 the same as V1u? Do I still capture 1080i60? Or was that an older model?
Does playback on the HVR1500 change the easy setup since it can only play back 60i?
It also says to use the Apple Intermediate Codec, but that takes up too much HDD space.
Any suggestions?

Capture it as 1080i HDV, or 1080i ProRes. Place it in a sequence, and say yes when it asks to conform the sequence. Then look in the A/V settings window and create your own easy setup for this.
I've not looked to see if there is an easy setup already for this, but if there isn't, then you can create one once you've decided whether to capture as HDV or ProRes... I'd choose ProRes because it's 10 bit so graphics will look better, and it encodes to DVD's or web streams faster, and it renders faster. File sizes are larger with it however.
Jerry

Export to word/text file

How to i export a html db report into .doc or .txt file.
Once exported this file should be editable.
Thanks a lot
sudha.

"Last Name","First Name","MI","Phone","Email","Location","Department","Office" "What","Ever","","123456789","mymailstop","Myloc","Mydep","Myoffice" "Shehan","Ashlee","","518 777 7777","mailstop","Location","Department","Office" "RAI","Aishwarya","","910090909090","bollywood","Bombay","Department","Office" "NASH","ELLIOT","","123456789","mailstop","Location","Department","Office" "Byrne","Rose","","1010101010","aroseisaroseisarose","Location","Department","Office" "Burnham","Lester","","0000000000","mymailstop","Myloc","Mydept","Myoffice"
This is the output i got when i clicked on .doc link...
In the output (though each line of data starts on a new line) the data is not separated into columns properly.My report has a description column which spans multiple lines so the columns are all mixed up and confusing to read.
MS word asked me "the file conversion --text encoding --option(windows,msdos,other) --- I chose"windows".
Do i have to change my word options or browser options to something else?
Thanks a Lot,
Sudha.

Re-install Elements 11

I had to do a complete system restore on my computer which of course means I lost all programs. I tried to re-install using my original CD but it says "invalid serial number" even though it is in fact the number on the original box. Why doesn't it accept the serial number?

Pauline Kay wrote:
I had to do a complete system restore on my computer which of course means I lost all programs. I tried to re-install using my original CD but it says "invalid serial number" even though it is in fact the number on the original box. Why doesn't it accept the serial number?
When you say "complete system restore" do I take it that you restored the system from the hidden partition of a Windows system thereby doing a system reset to factory defaults? If so then yes you have lost all your programs and documents and so there is no reason why it can't accept your PSE11 serial number.
Have you double checked that the numbers are not mixed up or confused? 0 looks like O and so forth with other characters. Perhaps ask somebody else to read it out for you.
If, however, the registry entries are still on your machine (i.e. it is not a factory reset) then you need to install the product as "Trial" i.e. without the serial number and the stored serial number will kick in when the system tries to activate itself.

How do you export separate audio tracks for Pro Tools?

I need to give separate audio tracks to my sound mixer but am confused on how to do so in FCP X.
So far I've:
Set the dialogue roles and stems for each character
Then I went into Master File>Settings
Selected:
"Format: Audio Only"
"Audio File Format: Wav File"
"Roles as: Audio only as separate files"
"Dialogue"
Sara
"Stereo"
And when I export and listen back to the wav file, there is either no audio or I hear select dialogue.
The only thing I can think of that I am doing wrong, is that each characters dialogue is not on the same track like the picture below. The tracks highlighted is of one character's dialogue that I am trying to export onto one linear track to export into Pro Tools.
Can tracks be assigned in FCP X? Or is there a crucial step that I am forgetting tthat explains why the audio for each character is not being exported.
Thanks!

If you're dumping audio for ProTools, you should be able to export XML for use in PT. Haven't done it myself, but the option's been there for a while now. You should be able to find instructions easily.
If you want to stick with making Roles work, I suggest making sure the roles are assigned properly to each clip. Kind of a super pain in the neck, to go one by one, but ... that's the way. There are key commands for the three default roles, but if you've created custom ones then it's more time consuming. Is that 'Sara' one a custom Role that you've created?
My only thought is you have compound audio clips there. Maybe go in and set the roles on the individual files inside the compound clips. Dunno...
The visual organization shouldn't matter (one track above another). That's the X way.
((In your picture, you say you have some files selected. When I select, I get a yellow border; yours are light green and dark green. What is that?))

Mixing Progressive & Interlaced = confusion

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