RDe-interlace question

I'm relatively new to FCP but fairly knowledgable with regard to home theater. In discussions regarding de-interlacing it has been said that de-interlacing, at least in the context of editing in FCP, effectively throws away half the scan lines. It has been my understanding that de-interlacing reorders the scan lines in a sequential order (progressive). What am I missing?
Thanks
Message was edited by: SimiCyclist

Hi,
http://docs.info.apple.com/article.html?artnum=58634
http://www.larryjordan.biz/articles/lj_fields.html
http://en.wikipedia.org/wiki/Progressive_video
http://en.wikipedia.org/wiki/Deinterlacing

Similar Messages

Adobe Media Encoder de-interlace question

My video in the preview displays horribly interlaced, this is odd because the footage in the timeline displays correctly and clearly as well as my original footage. What seems to be the problem, I've tried rendering with de-interlace as well, it still shows fairly bad after being rendered.
All my original footage is 1280x720, 25fps.
My settings:
Format: H.264
Range: Entire Sequence
NTSC, 1280x720, 25[fps], Progressive
AAC, 160 [kbps], 48 kHz, Stereo
VBR, 2 Pass, Target 8.00, Max 8.00 [Mbps]
Video Codec: MainConcept H.264 Video
TV Standard: NTSC
Width: 1280 px
Height: 720 px
FPS: 25Field Order: None(progressive)
Pixel Aspect Ratio: Widescreen 16:9
Profile: Main
Level: 4
Bitrate Encoding: VBR, 2 Pass
Target/Maximum Bitrate: 8
Attached Files to show ya what I mean.
Rendering an uncompressed video yeilds the same results as Media Encoder.

On further inspection, Even still renders are interlaced like mad...
What's wrong?!
EDIT:
I fixed it!!! Apparently when speeding up or slowing down clips, it merges the frames together giving off that horrible look! So I turned off "frame blend" And it looks super awesome.

H.264 Interlaced Question

@Tom Wolsky: I didn't want to stray OT on the FCP X thread where the OP is mixing SD and HD interlaced.
Just to say that I have never found a setting in Compressor that will allow me to output interlace H.284 – even from interlaced source material. Not that I'd ever use it myself, but if there are settings that will do just that, please let me know.
Thanks.
Russ

Thanks, Tom. Undoubtedly that works, although don;t have any interlaced H.264 to use as a source file. But an interlaced XDCAM clip flipped to progressive when I chose MPEG 4 as output.
Russ

Adobe Dynamic Link Interlaced Question

I have several Dynamic Link files from After Effects in my Premiere Pro project - the final version of my project will be viewed on TV - so I want it to be interlaced. Are Dynamic Link files interlaced or should I export the files from After Effects into an interlaced format before exporting my project from Premiere Pro?
Thanks
FOO

Simple rule: anything that is created dynamically within AE (text layers, shape layers etc.) does not care - AE (and thus Dynamic Link) will correctly sample their properties at the given time, so fields are always correct based on your settings. For the rest - if your AE project uses footage, it needs to be interpreted correctly and the compas have the correct sizes. If so, you should have no problems using the stuff in Premiere and retaining the field order.
Mylenium

De-Interlace question

Hi everyone,
I'm working with some footage that was originally shot in HD, but brought into FCP as 720x486 anamorphic ProRes HQ. In the process, it seems some interlacing was introduced. I'm trying to make some quicktimes, and trying to de-interlace, but it seems either I have a relatively crisp picture that has all kinds of feathering going on in the places where there is movement, or if I apply the de-interlace filter and render out a QT, I the feathering goes away, but all of the edges appear jagged. I have looked at the field dominance on the imported media and applied the filter to that field, but it still looks bad. Can anyone help me figure out a better process?

Actually, I'd been under the impression that it was a deck downconvert upon import, but now I'm being told that it was not HD originally. Some of it was Digibeta, shot in 16:9, some of it DV cam (cloned to Digibeta) shot in 16:9. Uuuuggh. In any case, it's been really hard to get a clean, de-interlaced picture. Any advice would be most helpful.

De Interlace question for flicker???

I have frames that I made into freeze frames and they flicker. Also some slow motion that flickers
1. Which of the De-interlace settings solve this problem?
1a. is there a different setting for the freeze frame shot and the slow motion shot?
2. If I have a lot of shots can I select all and apply all at once?

If your clip flickers, try using the Filter: VIDEO- FLICKER FILTER as well as DE-INTERLACE.
For all slow motion shots (if shot on 29.97 FPS - NTSC) you should be using flicker removal and de-interlacing filters to smooth them out.
Create a nest and apply those filters at once on all your clips
Sebastien Gomez
http://macgomez.typepad.com (For Apple News and FREE FCP Tutorials)

Boris continuum de-interlacer question dv 30fps to 24fps film conversion?

Just wondering what people think about converting NTSC interlaced dv video to film video at 24fps with a deinterlacer like the one that comes with boris continuum that does a simulation pulldown. Think I should just use a good deinterlacer or do you think I should convert my video to 24fps?
If everyone thinks I should do the pull down then I plan to use debug frameserver to encore and I will make a progressive dvd, does this sould like a good option.

And it will soon be getting even better… I am planning some updates for my dv2film functions: Better and faster deinterlacing, more accurate and faster motion compensation, multiprocessor optimization, so stay tuned!

Quick Interlacing Question?

Hi,
I just rendered some progressive .m2v's out of AE for DVD Studio Pro.
The video for my menu I see in the properties it was 720X480i. I don't know why, so I switched it to
720X480p.
I then added some of my .m2v's to tracks in my project. When I clicked on the track I also saw it was 720X480i. I went to switch those to progressive, but the 720X480p was greyed out in the resolution option for the tracks?
Is this going to make my footage look any different on a television?
Thanks

It looks fine on the tv though so I guess 720X480i doesnt matter? Is this common?

Interlacing problem - display issue or something else?

Hi, another interlacing question...
So I captured my footage (originally shot on film, telecined to digibeta) at 10 bit uncompressed to do my online (the offline edit was a 29.97 DVCam dub of that digibeta). Since I'm finishing on 29.97 digibeta, I didn't remove the pulldown as I captured offline or online, and am editing both at my finishing medium's frame rate. So yes, I have the duped fields in there, but it also keeps things simple and I've theoretically been seeing exactly what the finished version will look like the whole time.
Last time I did this workflow I used a G4 running a dual 867 processor with a gig of RAM, and I had some jitter and interlacing "comb" visible when I watched the 10-bit on the Mac, but when I output to digibeta and DVD, it looked fine. So it appeared to be that my computer simply didn't have the juice to display it properly, but that the media itself was fine, as were both ways of outputting.
Now I have a spankin' new Mac Pro with a quad 2.66G processor and 3Gigs of RAM, so I figured that "display issue" was behind me. But not only do I still see jitter and comb on my computer monitor, I also see it much worse on the test DVD I just made. So the problem isn't just the display. The look is very similar to when you capture a clip and remove the pulldown, but fail to start capture on an A frame (but since this is all 29.97, I know that isn't the problem).
I thought it might be that the drives were not fast enough, so I reformatted two of my internal drives into a Raid 0 and put the media there and reconnected it. The raid seems happy, and it's less than half full, but the video doesn't look any better.
Any idea what else could be causing this? I did just upgrade the project from the FCP 4.5 version I started to the FCP 6 on the new machine, plus my experience has been that moving from offline DV to online can allow in some bugs, but the ins/outs, clip names, frame rates, haven't changed. And of course I've been editnig 29.97 DV this whole time without seeing any of the interlacing on the monitor or tyhe outputs. Could field dominance have anything to do with this? I've never adjusted that in previous applications of this workflow, so it doesn't seem relevant, but I confess I'm not sure what I'm messing with there. Do I need still more RAM? The computers we ran at school a couple of years ago were running 10 bit video on G5s without significant upgrades to my knowledge, and this is just a single stream with a few tracks of audio here. I'm afraid to spend any more $$ until I'm pretty confident it'll solve the problem (shoestring budget here of course). Any thoughts?
Many thanks.
-Jeremy

Thanks for the reply. I don't really have a way to hook up my computer to a broadcast monitor. I know I should, but can't really afford the card to do it. So I color corrected my footage carefully during telecine, and for things like this issue, I'm making DVDs quick and dirty through iDVD, then watching them on my home TV (an LCD that plays both SD and HD).
I suppose something in my DVD player and/or TV might be giving me the weirdness in the display, but I think I mentioned I did this same workflow before on a lowly G4, and back then while the computer display showed the interlacing problems, the final output looks fine on the same TV/DVD setup I'm using now. (And I also output that timeline on the previous project to a digibeta master and it looked great too--unfortunately no way to test that digibeta output on the present project without going to a post house, which of course cuts into the budget.)
Maybe I need to bite the bullet and stop being so cheap, but I'm hung up on the fact that it worked fine before, and I can't see how this stronger computer is performing comparatively poorly.
BTW I do see the interlacing in FCP viewer and canvas, but only when it's set to 100% size. And it looks identical in Quicktime as well.
The other thought that just occurred to me is that it might be a codec issue. Perhaps the uncompressed 10 bit codec on my new machine isn't quite the same 10 bit uncompressed as the Kona card used to capture the video for both new and old projects. Maybe my old computer worked ok because that codec was slightly different, or I may have even copied the codec to that computer at some point in the past.
Any of this spur any other ideas? Again I really appreciate the help...
-Jeremy

Can I Encode to These Settings with Compressor??

Greetings,
I need some help from you good people.
I have been tasked with preparing our video program for an SD Television Broadcast.
In my many years of using Final Cut, I have never had to export for an official SD Broadcast. So I declare up front that this is a new world for me from web and DVD creation.
But I seem to be having a hard time matching all of these settings using an MPEG-2 Transport Stream in Compressor. So I want to know if I can use Compressor to match these settings or will I miss some of what the station wants?
I've tracked down most of the major settings in Compressor. I highlighted below in bold and red what I am having trouble with.
I will also add that I was trying to work with the GOP I and P frames settings but do not see a choice for selecting 1 frame for each one.
Most of my other issues are with the audio settings. I went to "Extras" and selected Multiplex but don't have any other control over the audio.
So any help would be much appreciated. Thanks!
These are the requirement sent from the station:
(BOLD AND RED are what I need help with)
VIDEO:
MPG TYPE: MPG-2
STREAM TYPE: PROGRAM (VIDEO + AUDIO)
VIDEO RESOLUTION: 720x480
FRAME RATE: 29.97 (NON-DROP) 4:3 DISPLAY
FIELD ENCODING: TOP FIELD FIRST
DEINTERLACING: USE TOP FIELD
BITRATE TYPE: VARIABLE (If they say a variable type, why would they state a Constant Bit Rate below??)
RATE CONTROL MODE: MODE 1
CBR BITRATE: 8000Kbps
GOP STRUCTURE:
I FRAMES: 1
P FRAMES: 1
PROFILE ID: 4:2:2
LEVEL ID: MAIN LEVEL
AUDIO: MPEG 1
AUDIO MODE: MPEG LAYER 2
AUDIO FREQUENCY: 48000 HZ STEREO
BITRATE: 256 KBPS* VARIABLE BITRATE EMBEDDED
MODE: STEREO
NO DE-EMPHASIS
MULTIPLEXING TYPE: MPG-2
Thanks in advance!
-Al

Disclosure: I haven't prepared a show for SD Broadcast either, but have been working with Compressor/DVDStudio Pro for a decade.
Looking at the specs, there are only a couple of unclear areas... the big thing is, they're asking for a Program Stream rather than Elementary Streams.
I looked into that codec and it seems capable of handling the task once you clear up the VBR/CBR and interlace/de-interlace questions.
Good luck!

Quick interlace/progressive question

Not EXACTLY FCP related, but I know there's a lot of professionals out there who might be able to answer this:
I know there's been several threads about the difference in viewing on your computer monitor (progressive) and an NTSC monitor (interlaced). I was wondering, though, about HD monitors/TVs. Are all HD monitors/TVs progressive, or are there interlaced ones. I shoot 60i (on a Canon XL2, SD) and some of the videos are displayed on a Sanyo DP26746 "Integrated" HDTV. Now, the manual says that the scanning format is 720p (the only one listed). Not my choice in monitors (my boss bought it even though he knows I'm shooting SD). Now it just looks like I'm playing it on my computer monitor.
So here's my FCP-related question:
Anything I export (no matter what compression) will not look like "video" will it? I mean, look like it was taped before a live studio audience, not filmed...the way "The Cosby Show" looks versus "Cheers". Is this HDTV just a big computer monitor?
BTW, my friend has an HDTV at his house with digital cable, and the SD content on the local HD channels look pretty good (better than regular SD...obviously not HD quality, but better than over-the-air stuff). Why doesn't my SD stuff look a lot better on this Sanyo HDTV? Is it related to the progressive vs. interlaced situation?
And no, Shane and Jim, I'm not trying to convert progressive to interlaced in case you were going to bring up this post.
Thanks all. Sorry for the long post.
Jonathan

I think I posted this on the wrong forum...might try the Compressor forum. I guess I'm looking for the best way to export if I'm presenting on a progressive monitor.
Thanks though.
Jonathan

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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Interlaced footage and resize question

Ok I am finishing a past project of creating DVDs from VHS.
Ok I have my clips captured they are DV-DVCPRO NTSC. I used audio filters to remove the audio hum from the VCR.
I want to remove the black border from the side and top of the video. Now my question is if i scale the video to fit wont that offset up the fields.
I am expecting to have 60i footage when I'm done.
Should I use Shake and separate the fields resize then re interlace them.

It's like a public access studio where they videotape live talk shows and that kind of thing. Below is a photo of it. Analog basically means they're shooting and recording the footage in the studio in NTSC analog where the pictures are interlaced one line at a time. They're also recording the output onto some kind of capture box (I have no idea what kind). Afterward, they're exporting the footage to whatever file you need. The exports they gave me were MOV but I noticed that my Premiere kept crashing every time I tried to edit and then export a finished edit. So I took the MOV files and converted them to MP4, which now works fine in my copy of Premiere. Below (the second to last link) is the converted MOV to MP4 file that dropped into Premiere for editying.
Download the BENS and SIMON exports below:
https://dl.dropboxusercontent.com/u/63110107/dmd-videos/SIMON%20Export.mp4
https://dl.dropboxusercontent.com/u/63110107/dmd-videos/BENS%20Export.mp4
Below is the converted MOV to MP4 footage I mentioned above:
https://dl.dropboxusercontent.com/u/63110107/dmd-videos/1NYEIntro_x264.mp4
And here is one of those graphics just in case:
https://dl.dropboxusercontent.com/u/63110107/dmd-videos/06.png

Quick Notation Question - Data Rates/Frame Rates/Interlacing

Finally upgraded to a decent prosumer camera and I'm trying to decipher what the manual is telling me about the many different formats it shoots and and the associated options. I keep seeing things like "There are two basic shooting modes: 720p and 1080i/p.", which I'm finding confusing. In my understanding, the "p" in 720p means progressive video and the "i" in 1080i means interlaced. So what do I make of 1080i/p?
On top of this, my camera shoots in "native" mode, which drops duplicate frames used in "over 60" formats. This will give me variations in the notation like:
720/24pN
720p Native 60 fps
1080i/24p
1080/24PN
Can someone give me a quick primer about frame rate vs data rate and explain how to read these notations? I'd appreciate it quite a bit.
Thanks!

There are so many cameras, capable of so many different formats that providing a manufacturer and model could be helpful in this discussion.
Jim's answer is absolutely correct but I'm going to re-state for clarification.
The i/p designation means you can chose to record as interlaced or progressive for a given resolution.
It sounds like your camera is designed to "capture" images at 60 frames per second, selecting "native" mode means extra frames are deleted and only the desired frames, based on frame rate setting, are recorded to memory. The advantage of "native" @ 24fps is you save space on your memory card. The advantage of NOT using "native" mode is that all 60 frames per second are recorded, but the file metedata tells playback software to only show the frames needed for the specified frame rate (i.e. 24). Since all 60 frames per second are recorded, you use more memory but you also have the option of retrieving all the those frames, if you so desire, at a later time (i.e. for smoother slo-mo).
To be honest I don't know what your spec of 1080i/24p means. If that is truly an option then I would guess it means it will record a 24p image but the metedata would indicate the file should playback at 30fps interlaced by adding the proper 3:2 pulldown. This would give you that "film" look in a broadcast compatible format.
For the most part, you don't want use use any interlaced settings. Very few display devices still in use can properly display interlaced images. Interlacing is only required in some broadcast specifications.
To answer the second part of your question;
Frame rates are an indication of how many times the moving image is captured over a given period (per second). Higher frame rates means smoother, more "real life" motion. Data rates can generally be considered an indication of image or audio quality. Higher levels of compression result in lower data rates and (generally) lower quality. If squeezing more hours of footage on fewer memory cards is more important than getting the best image quality, choose a lower data rate. Higher frame rates (more images per second) inherently require a higher data rate to retain the same quality as fewer frames at a lower data rate.

Exporting .mov Question: High Quality = Interlacing?

Hi Guys-
(Please excuse the double post in the Compressor forums, this applies equally to both)...
I am rendering out a .mov file of my standard def five minute short film. I use "Export using Quicktime Conversion". Under options > settings > H.264, when I set the quality to "high", I get a decent rendering of the final product but with a noticeable decrease in quality. But when I set the quality to "best", I get what looks like an exact copy of my raw files with no quality degradation whatsoever. The problem: when I render it out on "best", you can noticeably see the many interlacing lines when it renders. I do not have this problem when rendering on "high."
Question: Is something different happening or is the quality just so crisp you can see this now? Even when I apply a de-interlace filter in compressor, you can tell there's a filter on there. How can I render this out already interlaced and without having to use a filter.
Again, this doesn't make sense to me because all of my raw editing/files never appears with these interlacing lines. Only when I make this highest quality render of the project do I get these lines. Thanks!
I should also mention the video will be going to YouTube, not to a TV.
-Jack
Message was edited by: Jack Hochman

Go to http://www.proappstips.com/ and buy Philip's "Simple Encoding Recipes For The Web" - it's only a few dollars, and contains all the info you need to know (and then some).
Best of luck with it.
Message was edited by: Denis Murphy

RDe-interlace question

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