What to Deinterlace

I'll start with my workflow,
Im shooting DVCAM and HDV PAL and using FCP5, once my project is built i send MP4's via email to a website builder, burn DVD's as hard copies and dub the created sequence back to tape for storage or sometimes broadcast.
Should i have my sequence set with a field dominence and should i use a deinterlace filter on all my clips in the sequence?

my suggestion would be to ensure that your DVCAM sequences are set to lower field and your HDV sequences are set to upper field. you should not need to use the deinterlace filter.

Similar Messages

Unsupported Codec - now re-exporting QT - harm to color space?

Hello,
2 years ago, with the help from the responders of this forum, I was able to solve the
problem with several QT movies in an unsupported Codec:
DVC-Pro Codec QT Movies; open each movie in QT 2.5 player and re-export using
"Motion JPEG-B" high quality (to preserve color space). There were some concerns
about Color Space while re-exporting, that's why MJPEG-B was used).
the QT Movie is now editable/playable with QT 6.+ player. (which worked).
Question (1) Since I now have more room on my computer - can I simply open each
one of the old codec QT movies & re-export it using "None" compression - to make it editable/playable in QT 6. player?
Will this effect, or harm the color space - or any other serious issues?
Question (2) What about Deinterlacing? The final delivery will be internet.
ShouldI engage deinterlacing in QT upon re-exporting, or wait until final
compression to MPEG-2, MPEG-4 is performed?
Thanking you for any help or direction you may offer,
Kindest regards,
Luke Wonderly

Thanks Jim....yes, i'm covered on all cc monitors and quite used ot viewing output on color calibrated...as well viewing both on the same platform/monitor....The BIG question is PrPr being able to do color work---and my question is why would it have all the color effects if it did not? But i agree with you....first place to start is can you do proper color work on PrPr AT ALL? no problem to do a quick web video...but can you properly color a for television product---I seem to think NO....i could not get colors in end to match....i can view out on PrPr view my I/O box (Matrox MXO2) and see great colors that i colored the project on to my FSI color corrected monitor....but then when i view the ProRes file back (not on PrPro)...but on it's own with its own codec engine...this is where things go awry and stray from colors i originally put on the images...
But this is a PARAMOUNT subject as Pr is offering coloring....i hate to bring this in, but in FCP i can get accurate colors on my Matrox and same when rendered out to Prores file....Again, i think Apple plays well with apple.....but as you say, there are a great number of varialbes involved in the preferences etc...within PrPr...seems to me AE may be better just by reading about it...but why not both?

What type of deinterlacing does Apple use when exporting interlaced to QTM

There are many different ways to deinterlace video so I wonder which of them apple uses in QT Pro when you want to export to a QT movie.
For those who don't know what I'm talking about it concerns video that has been recorded for playback on a TV and each frame only holds half the information and needs to be meshed together or one of several techniques for it to play back on your computer monitor without leaving artifacts or horizontal lines around the edges of moving objects. No technique so far is perfect and I wonder which one apple chose because it doesn't give you any information on it.
Thanks
Kevin

The metal skin is really glued around the edge by a plastic frame. It is this frame that holds the skin to the main frame and can give problems.
I had to open my ti case to install an airport card. I either did it wrong or the apple glue job was poor because the gray plastic trim around the edge of the metal skin had come loose over 50% of the circumference.
I had a commercial 3M rubber cement on hand so I used that. I applied it with a toothpick very sparingly (of course the rubber cement gets stringy so the job was a ittle messy).
I let dry in a warm room for 24 hours. The reason I did that was fumes from curing glue can be caustic and attack some very thin metals etc. I fugured I wanted to lose any fumes before I trapped them in the warm computer.
It worked well and I haven't had a repeat of the problem.

DVD player video deinterlacing unsupported? What the ....?

So how does one activate it?
I tried having a good search for this but didn't come accross anything.
DVD player help suggested going to:
Window>Video Color
and that one could turn on the deinterlace there. Well I didn't see it?
Can someone tell me what's going on here?
Do I have to buy something?

Hey,
Go to the help menu and select "show supported features" at the bottom of the menu. A little dialog should pop up and show all the DVD player capabilities that your video card can make use of.
One of the items is called "video deinterlacing" and to the right of that it will say either supported or unsupported. If it says unsupported, then the only way I can think of to fix it would be to buy a new video card.
What kind of video card do you currently have? You can check it (in case you don't know the answer off the top of your head) by clicking the apple menu then about this mac, and then the "more info" button at the bottom of the dialog.
That will bring up the system profiler where you can generate a report about your system. When the system profiler comes up click the item on the left that says "graphics/displays" and the let us know what it says.

Deinterlacing In FCE OK - What About iDVD?

In another thread I printed the results of 2 test slideshows - one made in FCE and the other in iDVD. They were both burned on the same DVD using Best Quality.
I couldn't see any quality differences other than the FCE slideshow exhibited more interlacing flicker on certain slides.
I had not used a TV monitor but if I had, I would have been able to use the Deinterlace Filter to eradicate it.
I then realised that iDVD has no such filter, nor can you preview your project on a TV.
Is there any way of previewing an iDVD project on TV and is there any way of removing flicker.
Or is iDVD less prone to producing flicker in the first place.
Ian.

Thanks Tom.
I assume that the one pixel blur would only be effective if the slide was approximately video frame size and not 2560x1920?
Usually only a few photos display flicker and it can only be spotted when you get it in FCE.
This means you either give every slide some blur before importing or find out which ones are affected after they are in FCE and blur those in Photoshop.
I think I have just realised something!...........
........there was a pause for a few minutes whilst I tested an idea!
I opened the source files in Photoshop and altered the one that FCE showed was dodgy.
The file went offline but after reconnecting, the newly modified file was in my project. Eureka!
I suppose it was simple really but I had never thought of it before!
Ian.

How Do I Use The JES Deinterlacer to Deinterlace!!!!!

Having spent the last week recommending the JES Deinterlacer to all and sundry, I have just tried to use it! (And have I got egg on my face!)
The instructions are obviously written by experts for experts.
Quite simply I have made a slide show in iMovie using jpeg photos. Some of them show the classic interlace shimmer when played on a TV. (My system is PAL). I just want to deinterlace the video and export it back to my mini-DV camera.
Can somebody please tell me how to set it up to do a straightforward deinterlace?
The JES interface has 4 columns;- Project, Input, Colour and Output.
I assume I can forget about the "Colour" window.
Do I need to configure all the other 3 windows and if so exactly what settings do I put in each?
I have been blabbing on about how the JES should be put with other useful utilities in an FAQ - but what is needed is a simple set of instructions for we who are technologically challenged.
Ian.

Thanks Sue.
However, it only seems to deal with converting NTSC to PAL etc. and not a simple deinterlace.
I have been doing a bit of fiddling around and banging my head and have come up with what MIGHT be the correct method of use.
1. In the Project Pane choose Deinterlace and leave everything else in its default state.
2. In the Input Pane choose the iMovie movie I want to deinterlace and leave everything else in its default state (except for maybe selecting "Remove jaggies").
3. Ignore the Colour Pane.
4. In the Output Pane choose a suitable title for the deinterlaced movie and change the Compressor Panel - "Direct" from the default "DV-NTSC" to "DV-PAL". Leave everything else on that panel alone.
5. Press OK and wait for the movie to be converted.
Have I got it right? Is that how to use it?
If it isn't I would value the advice of someone who can tell me how I should be configuring the panes etc.
Ian.

Bought an ATV last week. What I think about it

I hope some people at Apple are reading this, because there is definitely something that needs to be done with the AppleTV. The idea of it is great and there are some great feature in it, but almost everything turns out to be not useable or a disappointment because of details. I live in Germany where there is currently no videos we can get from the iTune store except for some bad encoded Music videos. I have a video projector that can do 720p (HDMI) and a 3 years old TV (16:9).
Since the ATV only supports HDMI and Component Video, I have to turn on the projector in order to listen to music because my TV only supports RGB and composite, I cannot believe that it is not possible per software to output composite video which is standard (actually I know that it is doable since some people hacked their ATV to do that. My amplifier only support DTS and AC3 so the quality of Dolby Pro Logic II on it is quite bad, why isn't is possible to buy/rent videos encoded with 6 discrete channels converted to standard AC3 or DTS on the fly ? I have 2 Macs with a DVD player, why isn't is possible to stream DVD content ?
On the video projector, all I could watch until now were HD 720p trailers downloaded from Quicktime, I am telling you, except for the sound, the picture is fantastic and makes you want throw your DVDs away. But today, because the software does not support much, the only thing I can do with my almost 600 $ box (it cost 399 € here) is watch my photos with the projector, watch great trailers in 720p and use it as an AppleTV Shuffle for music. I hope there will be very soon a renting service in good quality, Dolby Digital or DTS out put, Video composite out otherwise I will have to sell it on ebay and get a PS3, it would be too bad, because the design is great, the hardware is great .... Please apple do something about the software capabilities.

You are right, everything says on the box, and the box is great, using iTunes to organise songs and movies is also exactly what I want, but with very little doable things, it could be so much more better.
The PS3 supports most video formats H.264, Divx, Blueray, DVD, Full HD, it works with file system too it is very flexible, but will never been as easy to use and organised like an iTunes Library ...
Another example, using iLife, I make family videos of the kids, but I can't play them in a good quality on the AppleTV, because it won't support DVD images, and using Share/Quicktime/AppleTV profile, the video result is very far from the result I get with iDVD (first it does not deinterlace the video and won't give you that option, second the picture quality is not very good, and looks ugly on a 220 cm screen where the DVD looks really good. I am not complaining, I just really want the AppleTV to be a success and do what it could do with no hardware changes.

New Quicktime 7.1 - What are the changes exactly? I am looking...

May 11, 2006 - QuickTime 7.1 is an important release that delivers numerous bug fixes, support for iLife ’06, and H.264 performance improvements. This update is highly recommended for all QuickTime 7 users.
Thanks to Karl Peterson:
What’s new in QuickTime Player
Both the free QuickTime Player and QuickTime Pro provide a host of new features. New in QuickTime Player:
• H.264 video support
This state-of-the-art, standards-based codec delivers exceptional-quality video at the lowest data rate possible, across data rates ranging from 3G to HD and beyond.
• Live resize
Playback continues smoothly as you change the size of the QuickTime Player window.
• Zero-configuration streaming
You no longer need to set your Internet connection speed in QuickTime Preferences. QuickTime automatically determines the best connection speed for your computer. If a connection is lost during streaming, QuickTime automatically reconnects to the server.
• Surround sound
QuickTime Player can now play up to 24 channels of audio. With QuickTime 7, your Mac, and surround speakers, you can enjoy the full effect of your surround sound movie or game.
• New and improved playback controls
Use the new A/V Controls window to adjust settings for the best viewing experience. Easily change settings including jog shuttle, playback speed, bass, treble, and balance.
• Spotlight-friendly media
New in Mac OS X v10.4, Spotlight makes it easy to find your QuickTime content. Spotlight can search for movie attributes such as artist, copyright, codec, and so on.
• Screen reader compatibility
Using VoiceOver, included with Mac OS X v10.4, visually impaired users can enjoy QuickTime Player features.
• All-new content guide
The all-new QuickTime Content Guide provides the latest in entertainment on the Internet.
• Easy access to QuickTime Pro
When you use the free QuickTime Player, features available only in QuickTime Pro display a “Pro” by their names. If you choose one of these items, you’ll see a definition of the feature and learn how to upgrade to QuickTime Pro.
QuickTime 7 Pro users enjoy not only all the great features in QuickTime Player, but also the following new QuickTime Pro capabilities:
• Record audio and video
With a digital video camera connected to your computer, you can quickly create vido postcards to share with family and friends.
• Share movies
Easily create a movie file for sending via email or posting to a website.
• Floating controls
Full-screen mode now provides floating DVD-like controls for easy access to functions like pause, play, fast-forward, and rewind. Move your mouse and the full-screen controller appears on the screen for several seconds.
• Create H.264 video
Use this codec for all your video encoding needs. Create content ranging in size from HD (high definition) to 3G (for mobile devices), and everything in between.
• Create surround audio
Create a rich multimedia experience for your customers by adding multi-channel audio to your movie. If some of your customers don’t have surround speakers, don’t worry; QuickTime automatically mixes the audio to work with the speaker setup of each user.
• Concurrent exports
Export multiple files at once—and continue with your next playback or editing task.
• Improved movie authoring
Editing tasks are much easier with new hot keys for in and out points. In addition, the Movie Properties interface has been completely redesigned to facilitate simple and efficient movie authoring.
• New AAC constant-quality mode
Create AAC audio files optimized for constant quality rather than a constant bit rate for a consistently high-quality listening experience.
• Conform to Aperture
View a movie’s aperture mode, and choose to have the movie conform to new aperture settings, including pixel shape.
• Deinterlace Source Video
When exporting with the Movie to QuickTime Movie option, you can now deinterlace the video by setting an option in Export Size settings.
• 3G streaming
Create 3G files for RTSP streaming that are fully interoperable with other 3G streaming handsets and delivery architectures.
• Automator-compliant
With Mac OS X v10.4, employ the easy-to-use interface of Automator for streamlining your QuickTime workflow. QuickTime 7 Pro users have exclusive access to a set of QuickTime-based Automator actions for easily automating such tasks as starting and stopping captures, hinting movies, enabling tracks, and more. The combination of Automator and QuickTime 7 Pro also lets you create your own set of personalized QuickTime-based Automator actions.
O.K. I found the new export options ROCK!
Daniel C. Slagle
Keeper of the "Unofficial" iMovie FAQ http://iMovie.danslagle.com

Found all of them!

What's happening with quality in CS3?

Hello to all,
I really hope someone PRO can give us a help because we are all driving crazy here.
We use premiere for a lot of years, now using premiere pro cs 3 , we bought the full bundle.
Our work is always some filmed scenes with our sony hdr camera, they some after efects files and then a lot of 3D animation imported as frames in .tga format.
we edit great, etc, etc.....the nighmare is the exports. We always lost quality on exports.
For flash, some lines seems flickering and there are little "teeths" on non ortogonal lines...it is awfull.
If we do export to h264 the "teeth" problem disappear, so there must be a problem with flash...or the problem is "us".
the same problem happens when exporting to WMV 1920 1080 full hd...it destroys our films completeley....again the same "teeths" on non ortognal lines........This is always in the 3D rendering sequences.....What are we doing wrong.???
I must say that exporting to DVD makes always our films look a little blured.....why????
help us to understand why so much bad quality is happening with cs 3. Some of those problem didn't happens in the previous premiere version.....
we are driving crazy and considering moving to FCP2 where it seems the export options work better.
thanks

@Harm:
You don't necessarily need $2K+ for a good encoder: For MPEG-2 DVD, try HC Encoder -- it is free and much better than AME, IMO (requires some AviSynth skills, however). For .flv, take a look at On2 Flix. It is not free, but much less than 2 grand.
But perhaps more important than the "encoder" is proper preparation prior to encoding: This sometimes requires more sophisticated deinterlacing and scaling than Premiere can provide. In other cases, the solution is as simple as making sure the "deinterlace" checkbox is not checked when your sources are already progressive.
@franciscovidigal:
Some (possible) solutions:
> For flash, some lines seems flickering and there are little "teeths" on non ortogonal lines
This is perhaps because your sources are progressive but the "deinterlace" box on the Output tab of AME is checked by default.
> the same problem happens when exporting to WMV 1920 1080 full hd
... same situation as above.
> If we do export to h264 the "teeth" problem disappear
Maybe you are exporting as interlace h264 and so avoiding the unnecessary deinterlacing?
> I must say that exporting to DVD makes always our films look a little blured...
Premiere is horrible at exporting HD->SD resolution.
To help you further, I need more information:
1.) What kind of camera is it exactly, and is what format is your footage (1080/60i, 1080/25p, 720/60p, etc.) ???
2.) Are your animated sequences rendered as interlaced or progressive?
3.) What are your project settings and do they match the same resolution, framerate and field order/structure of your sources? Furthermore, do all of your various sources match in this regard?
4.) What is your target output format? I'm guessing you're working with an HD timeline and looking to export both DVD and .flv versions from it? What's the target resolution for the .flv?

What to expect from a new build I'm planning

I have a basic "opinion" or "guess" question, please.
I'm planning a new build at some point and have to make a decision on when to take the financial plunge. In a few months, funds will be better, but I can manage the cost now if the speed improvements will be worth it. Speed improvements mean time which means money.
I'm running a small business producing videos for ourselves for business presentations (marketing and fund-raising) using Premiere Pro, outputting to FLV and DVD.
My content is pretty simple: video footage (talking head) from a camcorder, with two more tracks for titles and Photoshop images, with dip-to-black transitions. Soon I'll have my video guru provide some 3D animations that will also be included.
Until now, I've been capturing my footage into an interlaced project where I cut the raw footage into usable pieces. Then, I output those pieces to AVI, which I then run through a routine in Virtual Dub with presets my guru provided me with to take care of noise reduction and deinterlacing. Then, I import that resultant AVI (or set of AVIs) to a progressive project where I finish my editing and add the additional tracks with the titles, images and transitions.
Then, I output that to AVI, and convert those AVIs to FLV and/or use Encore to create DVD images.
The main concern I have is the very long wait times when I output to AVI from Premiere, process with Virtual Dub, and output to DVD image from Encore. (Of course, reduction in any wait time adds up, too.)
So, I have to try to guess at what kind of time I'll save when doing those tasks (and across overall working time) once I build the new machine. That will help me decide on whether to build the new machine now or later, based on the financial criteria.
I currently own an HP workstation, but it will not support the new Fermie CUDA cards. I want to use a GTX-470 (or -480). This is the pivotal issue that requires I build a new machine. Until then, I’m not using the CS5 MPE-CUDA features. What I don't know is how much time it will really save me on those major time-consuming tasks when I do make the jump.
One important consideration may lie in the fact that, accoring to my video guru, one of the advantages of the way Premiere CS5 plays well together with the approved CUDA cards is that it does GPU-based deinterlacing. He's suggesting this should may save me the time of having to do it in Virtual Dub phase (I'm not sure what he suggests about the noise reduction -- I think he may have commented that it may no longer be unnecessary, though to me it has seemd to make a huge improvement).
(Note: I see there are still some bugs in CS5 that hamper the benefits for now. For instance, I've read that there's an issue with CS5 whereby it takes a long time to export to AVI, and that there's a compromise with DV on an external monitor, but I don't know that those are issues in my decision since the former is going to exist regardless of whether I do the new build and the latter probably doesn't even apply to me.)
Here are my two system configurations, the "before and after," that I want to compare or, rather, to please ask for some guesses about as to potential time savings. Maybe I should call them the "Current" and "New build."
CURRENT:
- HP z400 machine -- mid-tower (no room for cooling a Fermie card)
- CPU: Xeon quad-core 4-thread
- RAM: 8MB DDR2
- GPU: nVidia FX-580 (obviously won't support new benefits of CS5 the way the GTX-470/480 in the new build will)
- DRIVES: one HD for OS/apps, one HD for swap, and three HDs in a RAID-5 array for data
NEW BUILD:
- high-end full-tower case with plenty of cooling support
- MOBO: ASUS P6X58D
- CPU: i7 930 (maybe OCd a bit, or maybe 980x)
- RAM: 12GB DDR3 triple-channel
- GPU: nVidia GTX-470 (or maybe 480)
- DRIVES: either same as current system, or maybe going to five drives in a RAID-3 array for data
I'd be hugely grateful for any guesses as to how much time in the major encoding tasks (and in overall work time) the new build is likely to save me.
Thanks so much!
Jay

Bill Gehrke wrote:
Jay, I wonder about this statement of yours "I currently own an HP workstation, but it will not support the new Fermie CUDA cards". How did you come to that conclusion?
Hi Bill,
Well, I make that assertion after a huge amount of time lost trying to make it work.
(See my posts July 16 and July 18th in this thread for the longer version of my excursion: http://forums.adobe.com/message/2945538#2945538)
The GTX-470 calls for at least 550W of power, The HP z400 workstation comes with 475W and it's a proprietary power supply. It won't take a standard ATX PSU -- the screw holes won't line up and even its pin-out for the system power plug is custom.
Undaunted, I bought a Corsair HX750W power supply and placed it outside of the machine on the floor, and used it solely to power the GPU.
I put the GTX-470 in and left the case cover off while familiarizing myself with Windows 7 for a couple days, but when I came into the office the third say the machine was locked up and the GPU was scorching hot. All fans on all components seemed to be working fine.
(I also noticed that the onboard sound never installed and there was no sound, and that the Sound, video and game controllers section in Device Manager only had four instances of "NVIDIA High Definition Audio." HP tech support was at a loss. My video guru says those drivers are probably normal from the GTX-470 card, but nobody could explain why the mother board considered that a replacement for the onboard sound. We don't know if that was a sign of imperfect compatibility between the GPU and mother board, which seems feasible since I had already learned -- the hard way after days of work -- that the mother board was at least a little custom in that the PSU was custom even at the system plug.)
So, when I had come that mornign and found the machine locked and the GPU super hot, I expermimented by cooling the machine down with a huge 12" external fan, then rebooted. For the next fifteen hours I waited to see if it would again heat up and lock up (or was it "lock up then heat up"?) and put more load on it by playing an AVI in WMP full-screen a number of times. For those fifteen hours the system ran fine and GPU stayed somewhere between cool and only very moderately warm.
Nobody has had a reason why it had ended up with the machine locked and the GTX-470 resulted scorching hot.
Bad GPU? Insufficient cooling? (Which maybe caused the system board to lock down the machine... which caused it to keep the GPU going with insufficient fan power???) Incompatibility between the GPU and system board? (Which had caused it to lock up the GPU in "on" mode and thus get scorching hot?)
And the consensus among those who thought it was a cooling issue was "almost" unanimous in saying that just running it with the case cover on would not be enough to keep the GPU reliably below the necessary cooling threshold, especially since I hadn't even begun to put a real load on it (I hadn't even installed Premiere on the machine yet).
And, it seemed evident to me that trying to creatively pack the machine with fans and cooling was just not realistic. If it is, I'd like to know, since that would be a lot cheaper than building a $5,000 machine. Here's a picture of the machine with the GTX-470 in it: www.silver100.com/x/z400_GTX-470.JPG.
Of course, all the cooling in the world still wouldn't help if the problem was compatibility with the system board.
You'll notice I got no responses at that other thread when I asked what the "guess" was as to the cause. So, I figured that -- short of it being a bad GPU -- building a new machine was the only way to fix it if it was a cooling problem and the only way to fix it if it was a compatibility problem.
I'm sure anxious to hear your thoughts.
Thanks so much!
Jay

Premiere / Media Encoder CS5 and deinterlacing

Maybe it's just me, but I'm not at all happy with the deinterlacing results from Premiere CS5 and Media Encoder. I've been using Premiere since CS3 and hoped for improvement in CS4, but no. And now with CS5, it's still just not good...
This is what I do in an nutshell: I edit 1080i HDV video in Premiere (using 1080i timelines) and export it to several formats, including 720p for Youtube. Now, whatever I do, I alway get some staircasing / aliasing on deinterlaced output. Not really bad and hardly noticable on video, but very noticable on logo's (which - ironically - are progressive to start with). Preview in Premiere looks fine, but as soon as I put the content through media encoder: staircasing. Even with the new "Use maximum render quality" option enabled.
When I output my 1080i timeline as 1080i MPEG2 video everything looks pristine (motion adaptive deinterlacing is then done upon playback by my nVidia graphics card). When I leave all rendering options the same and export 1080p or 720p - leaving deinterlacing to media encoder - staircasting is easily visible on logo's and detail is lost in the video compared to real-time deinterlaced output by my graphics card.
I guess my main question is: Why can't Adobe get this right? nVidia and ATI can do it very well and in realtime on their graphics cards (and have been able to do so for several years now) and freeware filters such as the ones used by ffdshow do a far better job too.
Why can't a high-end and expensive video editing solution like CS5 get this right? Hugely disappointing

Hi Todd, Steve,
I'm running CS5 a Cuda enabled system (Intel Core i7 965, 12 GB DDR3, MSI GeForce GTX 285 with 2GB memory and a secondary GeForce 9400GT 1GB, running Windows 7 Ultimate 64 bit).
Cuda support is enabled in premiere CS5, as my timelines are yellow even when I enable cuda accelerated effects such as color correction. So no problems there.
I work with 1080i50 HDV and AVCHD files, which I normally use in a HDCAM EX 50i timeline (I use HDCAM EX because that enables me to render all effects and graphics in 1920x1080, instead of a HDV timeline which renders everyting in 1440x1080). I have tried using native HDV timelines too, but that reduces horizontal sharpness on our logo and on sceen graphics, while the deinterlacing problems I encounter are exactly the same.
The problem is that when I export an HDCAM EX timeline to 720p, I get noticable degradation in image sharpness and visible jaggies on our on-screen logo. The same applies when I export to 1080p. When I export to 1080i (so no deinterlacing is done by Premiere or Media Encoder), the file looks great on playback (deinterlacing done in real time by my nVidia card).
For the last few weeks I've been working a round the problem in a way which is not ideal for me, but which does seem to provide better results:
I now work with HDCAM EX 25p timelines instead of 50i, and I set the 'field options' flag for all my clips to 'always deinterlace'. This results in a loss of temporal resolution on my timelines (which I don't really want, since I also export to PAL 50i) but it results in noticably better sharpness and less aliasing on 720p output.
I'd love to share my on-screen logo title if you wish to have a look at it. Our logo contains a circle which shows easily visible jaggies when deinterlaced incorrectly. Please let me know how to get the files to you.
Thanks,
Eric

What is the best way to render HDV at 1920x1080?

Hello, I am working with HDV footage in an HDV project in Premiere Pro CS3. I render it out at 1920x1080, square pixels, deinterlaced for the internet. My final product is an 1280x720 H.264 .mov file that I make in Quick Time Pro. My question is, what is the best codec to render out that 1920x1080 file so it looks nice? I am using the Cinepak Codec by Radius because Quick Time Pro doesn't read a full res AVI. Are there any codecs/ways that I should be rendering my file? I tried using the H.264 method in Premiere, but the exported file doesn't work in Quick Time. Any ideas?

WMVHD gives an excellent picture for the web.
Even set at default settings
Export Settings in Premiere
Format: Windows Media
Preset: HDTV 720p 25 High Quality (for PAL)

Field Dominance and De-interlacing: what settings to use?

I've been trying to read about, and understand, the issues of deinterlacing and field dominance/order, but I'm having problems and don't yet see what the clear solution is.
I'm shooting DV footage with a consumer grade camcorder:
Capture Preset: DV NTSC 48 kHz
Sequence Preset: DV NTSC 48kHz
720x480 NTSC DV
QT Video Compressor: DV/DVCPRO-NTSC
The problems are "teeth and vertical lines" in the quick movements and transitions, but fixing one (by changing the "Field Dominance" setting in the Sequence) makes the other slightly worse, it seems.
Or, maybe I should be using the de-interlacing filter on everything? I haven't found clear instructions about what destination material this should be used for...
I'd be grateful if someone could look at this web page containing examples of what I mean:
http://www.karma-lab.com/images-pub/apple-q/fielddom_nt.html
Picture 1: NTSC DV frame, from sequence set to "Lower (Even)"
Picture 2: NTSC DV frame, from sequence set to "None"
Picture 3: frame from "Cross Zoom" transition in "Lower (Even)" sequence
Picture 4: frame from "Cross Zoom" transition in "None" sequence
Questions:
1) What are the correct settings? it would seem to be "None", because otherwise my transitions all have "teeth" and look like somebody is viewing it cross-eyed, even at full speed you can see the teeth in the transitions. But if I set it to none, then it seems that quick movements of the people in the videos get slightly more "teeth" to them...
2) I am producing web video (quicktime/flash video movies). Not for TV or broadcast. Am I supposed to throw the de-interlacing filter on everything?
with "lower", it's jerky (half the frames missing, I guess) but the "teeth" go away
with "flicker-free", it's not jerky, but it gets a little fuzzy looking, and I want to keep things "crisp"...
I need less advice on the theory, and more advice on "set it like this for what you are doing." I've read some really technical explanations, and I understand why interlacing exists etc., but not exactly what I should be doing to get the optimal results for my needs, i.e. simply good-looking web video with decent motion and transitions, shot from a consumer level DV camcorder.
Thanks for reading!
G4 Dual 800 QuickSilver / PBook G4 Titanium Mac OS X (10.3.9)

What are the correct settings?
Since you mention that you've shot your material on a consumer-grade camcorder, that would mean that Field Dominance – in your FCP Sequence Settings – should be set to Lower. If you use None – and I'm sparing you the tech talk here – then you're basically rendering out at a reduced quality (as the last pic in your link demonstrates)
I am producing web video (quicktime/flash video movies). Not for TV or broadcast. Am I supposed to throw the de-interlacing filter on everything? with "lower", it's jerky (half the frames missing, I guess) but the "teeth" go away with "flicker-free", it's not jerky, but it gets a little fuzzy looking, and I want to keep things "crisp"...
If you really want to keep things crisp, you best quality option - within the Final Cut Studio suite of tools - is to Export Using Compressor, with the Deinterlace option in Compressor 2.x's Frame Controls to Better (Motion Adaptive) while setting your Output Fields to be Progressive (presuming that you'll exporting to QuickTime first, then converting to Flash. Having said that, this type of conversion can take a long time to process and may not be suitable if you're under a serious time constraint.
Otherwise, the speediest option is indeed to slap a Deinterlace filter onto everything (or nest your sequence then place the filter on the nest) but the quality isn't always what folks would like.

What should I convert my .mod file into to edit in imovie hd 5. ?

I have a JVC Everio GZ-MG505(japanese model)the ultra fine setting records at 720*576 pixels, 8.5 Mbps with 48kHz, 384 kbps audio
The .mod files stored on the hard drive is some kind of Mpeg-2 with Dolby(2 ch) annoyance! I have freeware called 'steamclip' Which coverts this file.
Should I covert it to DV(25),DVC pro(25) or Dvc pro(50)? and if I do should i deinterlace the video?
When it comes to converting to Mpeg I've got more options than you can wave a stick at, which has become bewildering,
I can-
export to quicktime, Mpeg with all kinds of audio options
and there's an awful lot of demux options,
I tried imovie hd 5. once with mpeg and then with dv(25)
So what do you reckon? dv or some kind of mpeg variation?
Oh and you probably guessed but I'm trying to burn it to a NTSC DVD-R
I would appreciate any advice Thanks

bitteschön (on your keyboard: alt-o = ö) ;-))
.. hmm, well, dv, esp for 'video' as on TV and in iMovie should be 48KHz, interlaced...
that segmenting is just for use with iM≤5, which does not allow import of files larger then 2GB in size...
frame blending is, to my knowledge, only needed if you change the framerate.. e.g. you have a 15fps iNet video and try to convert it into 25fps PAL... or you do a standard conversion NTSC<<>>PAL ...
... probably Matti Haveri meets this thread, he's our Streamclip specialist ... he has a 'tutorial' on his website http://www.sjoki.uta.fi/%7Eshmhav/SVCDon_a_Macintosh.html#edit_convertMPEG (Matti is a little ... 'shy' of using pics on websites ... )

Video Levels and Deinterlacing

I have been trying out Premiere Elements 10 and had a couple of questions. First, if I take AVCHD footage and check the video levels in Premiere Pro, it seems to indicate that the video is 0-255 on the RGB scale. Is there any way to test or see the video levels in Premiere Elements 10? And am I correct in assuming that Adobe converts AVCHD to 0-255, as opposed to Sony Vegas, which does 16-255?
My second question involves deinterlacing. Is it necessary to select the field options - deinterlace option when rendering web video like WMV, MP4, and FLV, or will Elements do this auotmatically? If I need to select deinterlacing, does it need to be applied on a clip for clip basis, or will selecting it under clip - video options only apply it to video that needs it and not deinterlace, say, a still picture in the timeline that is already progressive? In other words, if selecting deinterlacing is necessary for web videos, does doing so at the clip level cause any quality loss to progressive still images in the project?

Though PrPro offers many CC Effects, right now, many use AE for Color Grading. However, things might change. Here are some recent threads on what Adobe is planning:
http://forums.adobe.com/thread/938287?tstart=0
http://forums.adobe.com/thread/939053?tstart=0
For the vast majority of my work, I use PrPro, and AE. Remember, PrE is not a "pro-level" NLE, and is basically designed for DVD/BD, and then delivery to sites like YouTube. There are few, if any, broadcast functions in it.
Good luck,
Hunt

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