Non-Interlaced DV

Hi!
Can you confirm that FCE HD 3.0 does not support non-interlaced DV video for rendered material but anything that does not require rendering will remain in it's native non-interlaced format?
What appens if I import and render (after an operation) non-interlaced DV video in FCE HD 3.0?
Thanks!

Yes, FCE always renders interlaced, but it depends what you do; it not matter.

Similar Messages

How to edit with non-interlaced playback - for square pixel art?

I'm working with PNG sequenced images from Flash. I'm compositing in AE and I export an QT movie in "Animation" compression, 100% quality. The exported movie is as 'clean' as a Flash swf. This becomes my source movie for Premiere CS3.
When I bring my scenes to edit in Premiere CS3 I can't figure how to set up the project so the the final out-put is non-interlaced. I want the quality of the final movies to be as clean (non-interlaced) as my source movies.
I would like to work in non-DV format since my source movies are made from square pixel art (Flash & Photoshop). This process works great in Premiere 5.1, is it possible in CS3?
I work on PC - XPpro

Jim,
Thank you for responding to my post. My question is can I edit and output in Non-DV format (non-interlaced video) with CS3?
I mentioned using Flash because I wanted it to be known I was starting with square pixel art. My final goal is to make DVD movie. I use Premiere to edit the scenes. I work in animation, some traditional hand drawn, painted in Photoshop, and some Flash generated. My end results needs to be a high resolution QT movie.
I've been using Premiere 5.1 and for years (Premiere 4 before that). I would like use Premiere CS3, but I need to export without the interlaced video. Can this be done in Premiere CS3?
[URL=http://imageshack.us][IMG]http://img155.imageshack.us/img155/2331/interlacevsnoninter lacehc8.png[/IMG][/URL]

Non-interlaced Graphics and NTSC output

I have animations created at NTSC D1 720x486, 30fps, non interlaced.
I convert them to 720x480, 29.97 fps and export as Lossless QT via AE.
I then compress them using Compressor 90min preset, drop them into DVDSP and burin a disc.
Encode options:
Field Order: auto
Mode: Two Pass
bit rate 5.0
max 6.0
motion estimation: Best
I get crawl. I tried applying lower field dominance via AE and replacing the clips in DVDSP and it looked worse.
What do I need to do to make non-interlaced animation play smoothly and look on a tv the way it looks now on my desktop?
Is the answer(s) in Compressor? AE? DVDSP?
I tried a search before posting but I didn't find an answer.

I get crawl. I tried applying lower field dominance via
AE and replacing the clips in DVDSP and it looked worse.
Second thing first: unless you are working on a 24p comp in AE, you should be exporting with lower field dominance. In fact, if you work in 24p in AE, you would still pick lower field dominant but then pick a pulldown pattern to apply as well.
So when you say you get "crawl" (i.e. it looks like a moving marquee around borders), then that's a function of using overly-saturated colors in your animations. You won't see the crawl until you view it on a TV. You'll see worse crawl when viewing it via composite or (ick) RF-modulated connections. You won't see it as much, or at all, on S-video or component connections, but anyone else viewing it via composite or RF will still see it.
The only solution is to use AE's Broadcast Safe filter, or run things through Final Cut and use its broadcast safe filters along with its range check view.
The other possibility is that what you're seeing isn't actually crawl. So you might need to describe the problem you're seeing in more detail if that's not the case.

How to achieve good non-interlaced video using compressor (newbie question)

Dear all,
I am completely at sea but I know that I have to use the "none" setting for the field order and cannot for the life of me work this out.
Now- I usually export direct from Final Cut Pro (H.264, best quality etc etc) but this time the exported QT file just will not de-interlace (not my footage but I have to deliver the edit), come **** or high water.
So- a kind soul said to use Compressor... And to not use any field ordering.
But HOW? I watched videos, sought to use the instructions given me here but am still totally lost.
What I did:
1. Launched Compressor,
2. Dragged in the self-contained reference QT file from my desktop,
3. Picked a setting (H.264 which has field reordering ON by default),
4. Dropped the "setting" into the blue field to right of clip thumb,
5. Double-clicked the "setting" and then-
6. picked the "Encoder" button, as instructed but cannot change the Field Order.
Because Compressor is completely new to me I don't know if I ought to NOT pick a setting until I have it how I want it, saved it as a "custom setting" and THEN bring it into the project or if I am to do it once brought in to the project. Either way- how to change the field order to "none". Or should I pick a de-interlace filter? Just that I have been looking and testing and nothing I do creates a de-interlaced final file.
All the tutorial videos I have watched (erm- about 5 now) go over exporting and how to pick your settings from those which exist but what I need to know is how to change a setting to suit (ie get rid of the evil interlacing).
I am hoping someone here can give me a very simple step by step or point me in the direction of one.

Let me see if I can wrap my head around what you're trying to do. You started with an HD timeline 1280 x 720 (16:9). Into this you want to add your SD PAL clips, shrunk down for a picture in picture effect (a completely different concept from multicam.) But your shrunk down clips have nasty interlacing, and the one clip which was meant to be full frame looks like rubbish, right? Sorry but there's no way to blow a clip up 180% and have it look even halfway decent. At least not in FCP. Compressor has an upscale algorithm, available in the same Frame Controls tab where you did the de-interlacing, which can give you somewhat better results. There's also a plug-in from Red Giant called Instant HD which may or may not yield better results than Compressor.
Here's where you went wrong. The clips to be shrunk should have been deinterlaced before bringing them into FCP, and into your sequence. Go ahead and do this, using the ProRes 422 setting, with the deinterlacing technique from before.
Your sequence in FCP is fine, except that you want to change its compressor to ProRes 422 so that it matches your newly imported de-interlaced clips.
You want to de-interlace your P2 1080i clips beforehand as well. The other change to make to your sequence is to change Field Dominance to None.
If you've already finished your edit, you can still do all of the de-interlacing, outputting all of the results to a new folder. But you have to do every source clip in its entirety if you want to re-link to retain your edit.
When Compressor's done - this will probably take all night - open your FCP project, select all the source clips, right-click and choose Reconnect Media. Locate the newly de-interlaced ProRes clips and Connect.
Then you only need to export your sequence as a Quicktime Movie, Current Settings, Self-contained. This will give you a pristine master which will play fine on your computer, and from which you may then use Compressor to create a web or dvd version as needed.

Convert 24fps to 30fps (non-interlaced)?

I need to convert a 24fps .mov to 30fps in AE. I was wondering if you could suggest the best way for me to do so.
I tried a '3:4 pulldown' at render time, but that results in interlacing. Andrew Kramer's FPS converter script didn't seem to work for me in CS5 either.
thank you for any recommendations provided.

Can't be done in a single pass unless you want to just change the frame rate which would change the total length of the video.
Adding 3:2 pulldown can only be achieved through interlacing. You could then, on a second render seperate the fields. The resulting footage would have a regular pattern of soft frames where two fields, each from a different frame, are blended together into a new single frame. The amount of the bluring depends on the motion withing the frame. The video would not look as goos and ad standard 3:2 interlaced video from a 24 fps source.
Interestingly enough this brings up an interesting debate on film look and fps. When we were producing commercials for large ad agencies on 35mm film I always ran the camera at 29.97 frames per second and never at 24 because the resulting commercials just looked better. Sure, the broadcast video was still interlaced, but both fields were identical so we were really creating 3Op footage. It also sill looked like film because, well, it was film.
The biggest question that your question brings up in my mind is why would you need to or want to do this? I can't figure out why 3:2 pulldown video would be unacceptable.

Importing and handling progressive (non-interlaced) video...

Hi, have searched around and can't quite find the answer to my problem so I hope somebody can help...
Ive recently aquired a Sony TRV 900 (3ccd) which has a progressive shooting option. Apart from a strange semi-strobing effect on that sometimes occurson fast moving objects this option generally seems fine in good light.
I can import into Final Cut Express (v1) ok, and when I view the clip frame by frame (with the arrow keys) every single frame is clear, crisp, free of jaggies etc.
As soon as I play it back (either as a clip or in a sequence) it appears to be lower quality somehow and there is lots of nasty aliasing or jaggies. Pausing restores the image quality back to normal.
Ive messed with various options available when putting the browser into list view. (PAL or square ratios etc). Even tried exporting a final cut express movie, to view in Quicktime but the quality never matches that of a frame by frame playback in FCE. The exported versions if viewed frame by frame lack also lack the higher quality.
I cannot find any sort of interlace or field options during the import stage but as my 'stills' are great I assume it's either the preview playback or the rendered export at fault,but it's driving me pretty crazy! lol
Even though footage may end up on a dvd at some point (ie. interlaced, right?), I would still like progressive versions to create web versions etc.
Am I completely missing the point here or something?
Hope somebody is able to shed a little light here for me?!
Thanks in advance...

As far as i know, Final Cut Express (at least the version i've used which is version 2) assumes you are working with interlaced video and that is that. In Final Cut Pro there is the option to work with progressive footage, but i think FCE just assumes you are using interlaced, and doesn't allow you to change that.
The way you are describing it, it does sound like it is playing progressive footage when in an interlaced mode. A similar thing happens when you play interlaced footage in a progressive mode. It looks absolutely fine when you look at a single frame, but once playing it has lines and artifacts around edges.
I'm not sure if there's anything you can do about that. I'd like to be wrong though.

Is my clip interlaced or non-interlaced?

Is there a way in PP that I can find this info, or is there another product that will give me this info? I am running CS5 on a Windows 7 64 bit PC.

General
Complete name                            : C:\Users\WarChief1\Desktop\Adobe Lens Correction\MAH00486.MP4
Format                                   : MPEG-4
Format profile                           : Sony PSP
Codec ID                                 : MSNV
File size                                : 7.23 MiB
Duration                                 : 5s 5ms
Overall bit rate mode                    : Variable
Overall bit rate                         : 12.1 Mbps
Encoded date                             : UTC 2012-12-26 15:40:34
Tagged date                              : UTC 2012-12-26 15:40:40
Video
ID                                       : 1
Format                                   : AVC
Format/Info                              : Advanced Video Codec
Format profile                           : [email protected]
Format settings, CABAC                   : Yes
Format settings, ReFrames                : 2 frames
Codec ID                                 : avc1
Codec ID/Info                            : Advanced Video Coding
Duration                                 : 5s 5ms
Bit rate mode                            : Variable
Bit rate                                 : 12.0 Mbps
Maximum bit rate                         : 16.0 Mbps
Width                                    : 1 440 pixels
Height                                   : 1 080 pixels
Display aspect ratio                     : 16:9
Frame rate mode                          : Constant
Frame rate                               : 29.970 fps
Color space                              : YUV
Chroma subsampling                       : 4:2:0
Bit depth                                : 8 bits
Scan type                                : Progressive
Bits/(Pixel*Frame)                       : 0.257
Stream size                              : 7.15 MiB (99%)
Encoded date                             : UTC 2012-12-26 15:40:34
Tagged date                              : UTC 2012-12-26 15:40:40
Audio
ID                                       : 2
Format                                   : AAC
Format/Info                              : Advanced Audio Codec
Format profile                           : LC
Codec ID                                 : 40
Duration                                 : 4s 992ms
Bit rate mode                            : Constant
Bit rate                                 : 128 Kbps
Channel(s)                               : 2 channels
Channel positions                        : Front: L R
Sampling rate                            : 48.0 KHz
Compression mode                         : Lossy
Delay relative to video                  : 33ms
Stream size                              : 76.4 KiB (1%)
Encoded date                             : UTC 2012-12-26 15:40:34
Tagged date                              : UTC 2012-12-26 15:40:40

Interlacing artifacts on progressive footage in FCP but not when exported?

Hey everyone! Thanks so much to everyone here who has helped me before!
I am trying to edit a music video on my 2GHz Core2 Duo Macbook. I can do everything just fine, but with one little hitch.
The video I am editing was shot DVCPro 1080p 30.
When playing back the raw footage, or playing back my edits in FCP, the video has interlacing artifacts during periods of quick movement, even though the footage was shot progressive. However, when the video is exported, *there are no artifacts upon playback.*
Also, if I open the video in Adobe Photoshop CS5 Extended, and look at the video one frame at a time, the interlacing artifacts are there!
Anyone have any idea about why this is happening?
Thanks so much!

The field order of the clips are also set to none.
Here is a picture of the item properties window of one of my main shots:
http://gabrielredding.com/clip_info.jpg
To make things more interesting, the interlacing follows a pattern. Three frames of non-interlaced shots, and then two frames of interlaced shots. Consistently.
Could this have something to do with my integrated graphics card?
Like I said, when the video is exported to a different format, the interlacing is gone, even though no deinterlacing was applied...
Thanks

Interlacing with Adobe Premiere Pro CS5

Today I have noticed a problem when settings the fields of a piece of video in my timeline to "interlace consecutive frames". In CS4 this worked perfectly but in CS5 it makes my video twice as fast and becomes out of sync with the audio. Anyone else having this problem?
My project setting is DV Pal 25fps 4:3.

Welcome to the forum
I copied this from the help.
Interlace Consecutive Frames
Converts each pair of consecutive progressive-scan (non-interlaced) frames into the two interlaced fields of a single frame. This also results in the clip running at twice its original frame rate. This option is useful for interlacing clips created by animation applications not capable of generating interlaced frames. Ideally, you could use it to convert 60-fps progressive-scan animations into 30-fps interlaced video.

Why are my Photoshop images interlaced?

Is that just an effect FCP throws into to make the progressive frames look like the rest of your footage, or is FCP actually interlacing my Photoshop files? I can run some tests and figure it out but if someone has a quick answer, it'd be much appreciated!

I was referring to:
"Spend some time learning what interlace means. Search it in the FCP manual, it's very good at that sort of thing.
Interlace is a very good thing - unless it's used poorly - which happens when it's misunderstood. It allows us to have very clean NTSC and PAL images with smooth movement, in very limited bandwidth."
But I'll readily admit that meaning can get misconstrued by text very easily, so no offense taken here, nor there apparently.
My initial problem was solved, but I've encountered a new one as a result.
What I'd like to is take the 1080i footage I have (six DVD set) and create a progressive video of half that size for the web (just a five minute promo). It's a bit smaller than half the source, and some scenes are cropped differently due to different needs for televisions and computer screens. I have an excellent video already working, but there are some improvements I would like to make (if it's possible).
I have two sources for the content in my video. One is the HDV camera (1080i), and the other source is the computer (Motion files, JPEGs, etc). Apart from the dissolve between the scenes, at no point is there a combination of these two sources within a frame. The scenes are neatly separated (each scene is a nested sequence).
What I want to do is deinterlace the camera footage. If I understand correctly, FCP's deinterlace filter is a line-doubler, halving the resolution but maintaining the temporal information. Because my output is half the dimensions of the source (give or take), this works perfectly for me because I'm losing that resolution anyway. Meanwhile, the scenes comprised of assets from Photoshop and the like are rendered at full resolution. To achieve this, I would think I'd deinterlace the sequences with interlaced footage, then nest the sequence in a new sequence which is smaller and without field dominance. Then, by nesting the sequences with non-interlaced assets, they are rendered at full resolution while the interlaced footage is rendered progressively because the parent sequence has been deinterlaced.
What's happening is that I MUST keep field dominance turned on in the downscaled sequence or the camera footage displays weird effects (like interlacing, but with alternating large sets of pixels rather than single pixel lines). This in turn interlaces the scenes with the computer assets, requiring me to deinterlace them as well, halving the resolution unnecessarily.
The only guess I have as to why this happens is that the deinterlace filter is being carried over to the downscaled sequence rather than already deinterlaced footage.
So, having said all that, the simple version of the question is:
How do you create a progressive video for the web from a larger interlaced version WITHOUT interlacing and then deinterlacing the portions of the video which weren't interlaced to begin with? Is it impossible to do this within a single sequence, and if so how do I combine multiple exported sequences into a single video for the web? Unfortunately I need to be able to cross dissolve from each scene to the next, so can I do that using Quicktime Pro, Compressor, or some other program?
I would show you the footage but I can't be putting links up to it on the Internet right now (not my choice).
Thanks in advance for any help you can offer and sorry we got off to a bad start.

X200s - 50Hz interlaced display mode only... What a headache!

Bought X200s (1440x900 resolution) recently.
Have found it to be very bad for my eyes.
I've used to work on my aforetime Quanta for hours w/o any problems.
Now with X200s I do have blearing eyes and headache very soon.
Investigating the problem I've found that the best (and the only) display resolution possible is 50Hz.
Moreover, only interlaced display mode is possible, even with native resolution!
So the best mode we have with the newest X200s is 50Hz interlaced...
Well, I've seen such LCD monitors when I was young (that was ages ago)...
But now???
I wonder if there is any other notebook (either netBook) on the market now with maximum refresh rate less then 60Hz?
No fear!
I'm definitely sure that Lenovo should recall this piteous product ASAP.
Message Edited by gelleal on 03-20-2009 12:25 PM

@lead_org
I do not compare CRT to LCD at all.
To be more clear:
1. All modern LCD screens (including all laptop screens currently on market) hold at least 60Hz refresh rate/non-interlaced mode.
2. Whereas cheap laptop LCDs work usually at not more then 60Hz, good screens possess 75Hz and sometimes 90Hz rates.
3. Only very old LCD screens (10+ years ago) had 50Hz of refresh rate maximum and could work utilising interlaced modes only.
4. The common notion states that any good LCD (not CRT) screen must render 60Hz refresh rate at least.
On smaller CRT monitors (~<14 inches) few people notice any discomfort below 60–72 Hz. On larger CRT monitors (~>17 inches) most people would experience mild discomfort unless the refresh is set to a more comfortable 85 Hz or higher. (http://en.wikipedia.org/wiki/Refresh_rate)
Some major manufactures consider 60Hz to be unsufficient, offering 75Hz-capable laptop screens.
5. Low refresh rate setting affects the LCD’s performance (see http://support.apple.com/kb/TA22119?viewlocale=en_US etc. etc.).
So, am I wrong? Or is the market wrong?
Are there any other laptops with 50Hz (interlaced) maximum refresh rate I'm not aware of?
I doubt if any.
Back on topic: with new X200s (1440x900), I have 90Hz (non-interlaced) on external 17" 1280x1024 Sony LCD monitor, and up to 100Hz on external 20" NEC LCD monitor (any resolution).
Both have a great picture.
50Hz interlaced is definitely the laptop screen limitation, not of the Intel 4 Series Express graphic adapter.
I've tried the older X200s (1280x800), which runs at 60Hz non-interlaced and does have a good stable picture.
Did Lenovo accomplish a product invention, or there is a sales pitch of cheap screens below standards?
BTW, in some countries LCD screens with refresh rates below 60Hz are prohibited by public health regulations.

Interlace or Codec Problem? You tell me.

I used Streamclip to convert some DVDs to QTs using the Avid Meridien Compressed codec because they are to be edited on Avid. The edit house said they wouldn't import properly no matter what field dominance they gave. Yet they play fine in Quicktime.
So I imported them back into FCP and its strange. When I set the sequence settings to all the same specs as the clip, including an avid meridien compressed for compressor type, the clips will sometimes play fine after first inserting them in the sequence, but then when I play them again from the sequence it looks scrambled on the diagonal. Yet they play normally in the viewer.
Any ideas what's going on?

My initial settings were for lower field first unscaled. Which indicated it would be 720x480.
We imported into the avid with lower field first and maintain and resize.
I took a look at what's happening on avid at lunch today. The image is jumping about 10 scanlines with the interlace, even when given a test that was non-interlaced. Its a PC Avid, BTW, sorry to say.
On FCP, I had a completely different problem. It just came out looking scrambled like in the days of cable when you could see a channel scrambled if you didn't subscribe. This could be a factor of trying to work in FCP with a sequence set to Avid Meridien, possibly?
Your DV codec from MPEGStreamclip works fine in FCP, we'll see if it works in avid. If nothing else I can output a tape from FCP. But oy, I will have downgraded the image so much by then.

Preserving original interlacing while compressing to MPEG-2 video?

One of our partner companies seems to have trouble creating interlaced MPEG-2 .m2v files using Compressor -- it always comes out progressive, no matter what options are used. Perhaps a bit of (boring) background to understand the situation:
We are a non-profit and currently negotiating with a third party to receive many hundreds of their videos for a streamable version of their video archive we're building. The originals are losslessly compressed and for some reason interlaced -- they were probably taken from Beta SP tape that way.
Our archival system would like to take MPEG-2 as "high-quality" (comparatively) input and then renders to many formats (H.264 etc.) in many containers for streaming. We do deinterlacing on those input files, if they come interlaced.
We would like to preserve this MPEG-2 file for future compression runs in future streaming formats that don't exist yet, so we think it makes sense to stay as close as possibe to the losslessly compressed original format that the third party gave us.
Can Compressor preserve the interlacing that was in the lossless source file or is this pointless? Does Compressor need to deinterlace the material anyway in order to be able to compress?
If there is no way to preserve the original interlacing and if a deinterlacing pass is part of the compression process anyway, then we'll ask for progressive material from Compressor, otherwise it would be nice to stay close to the source.
Any opinion or information is much appreciated

Thanks a lot for your response. Yes, it's 25 fps PAL video, I have one version in Apple Lossless and one in DV. So far I have tried the DV version, because I'm certain that one is interlaced. More tests with lossless follow today.
But as I understand it, most codecs today are block-based and thus would need a non-interlaced full picture to work at all? It doesn't make sense to look for blocks in material that comes in cut up bits and pieces, one half-picture per frame? So from that perspective, it would make sense for Compressor to deinterlace the source material before encoding it anyway, whether we tell it to or not.
Thanks for confirming that MPEG-2 output can be interlaced with Compressor, that's one less thing to worry about. What I'm left wondering is whether it is even mathematically possible to preserve the original interlacing through to the output MPEG-2
I'm doubting this more and more.
Probably using decent-quality deinterlacing in Compressor and making the resulting MPEG-2 progressive would do more to preserve the quality of the source material.

Converting 1080i50 to interlaced DV-PAL

I want to convert (XDCAM EX) 1080i50 video to interlaced DV-PAL for an SD project. So I import my original clips into FCP and recompress them (using Media Manager) to DV-PAL anamorph. That way the original clip-structure is maintained and the whole batch runs automatically.
But the result is non-interlaced video. Somehow the two fields have been merged into one non-interlaced frame.
Now if I put a 1080i50 clip onto a DV-PAL anamorph timeline and export that clip as a self contained Quicktime movie the resulting movie is properly interlaced. Only problem is that if I want to maintain separate clips I have to repeat this process manually for every single clip.
Does anyone know if it is possible to recompress with the desired result? And if yes: how?

I would export the timeline as self contained in an uncompressed codec and use Compressor to mmake a PLA SD 16:9 m2v and not recompress via media manager, etc.
Adjust resize to Better in Frame Controls....

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.

Non-Interlaced DV

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