When to de-interlace

Hi I've recently bought FCE and want to edit some AVCHD 1080 50i footage. I know I need to de interlace it. When is the best time to do this. Before importing the footage into FCE using JES deinterlacing on each clip or after I've exported the edited clip using QT conv (H.264 either 1080 or 720 HD). Or is there an deinteracing tool in FCE that will work better and if so where is it. Also while I'm here whats the difference between 50i and 25p? Do I want the final edited footage to be 1080 or 720 at 25p? I intend to whatch the footage on my PS3 or use Toast if thats easier (short Bluray format file on a DVD)
Thanks

What makes you think you need to deinterlace?
If the footage is interlaced and is destined for DVD keep it exactly as it is.
CORRECTION. I'm not sure about Blu-ray DVDs so wait for someone else to chip in.
50i is 25fps with 2 different fields per frame.
25p is 25fps with a single field per frame.
Most cameras that claim to be 25p actually shoot 50i but the 2 fields in each frame are identical, giving the same effect as a single field.
Message was edited by: Ian R. Brown

Similar Messages

Blurry titles when exporting from interlaced to progressive?

I have a project which is DV PAL (720 x 576) and needs to be exported as a progressive H264 mpeg file. The video looks good in the export, but the titles are blurry. I just did a test and exported the project interlaced, and titles were fine. So the problem is clearly the transition from interlaced to progressive. Is there any way to get crisp titles in this situation?
Using Premiere CS6. Have tried exporting to progressive with several alterations to the title clips (reversing field order, always deinterlace) with the same result.

Hi JR Dungan,
How about you create a new progressive sequence, and then copy paste all of the content of your current interlaced sequence into the new progressive sequence, and export from there. I haven't worked with interlaced footage for years so I don't know for sure if this will help or not, but since it's quick and easy to do, it's worth a try.
Cheers!

Just when I thought I new how progressive and interlaced are working....

Hey everyone.
I thought I new the difference between progressive and interlaced but I've still got a few questions. For the most part... i get it. Progressive is like 1 solid picture. Interlaced breaks up the picture into interlaced lines and 2 fields, odd and even . Great, that much I've got.
Here's my issues.
This is actually a compressor question but it starts off with Final Cut.
I shot some footage on Mini DV NTSC 29.97 interlaced.
When I edit it in Final Cut things look pretty good. I see a little interlacing in the preview window but that's ok, it's the preview window. I know there is a filter to de-interlace my footage but what is the option in my sequence settings of Field Dominance? There is an option of field Dominance- Lower, even and None. Lower and even I assume deal with interlacing fields. I assumed none meant progressive. What's the point of needing a filter if I can change the field dominance within my sequence settings? Does it do the same thing?
If I export this footage to compressor I use the H.264 codec from inside compressor.
I noticed that I can turn the Frame Controls tab of my setting on. I then have access to the resizing controls. Resize Filter... not sure what that is. Then Output fields. I change that to progressive. Which I assume deinterlaced everything... but then there is another option right below that to Deinterlace....? Didn't I just do that by saying their are no fields? On a final note after it exports and I go to look at the .mov... the footage is still interlaced.
One last thing with compressor. The above issues are all part of my setting inside of the inspector for the actual "codec" i have attached to the project. If I mouse click on the project itself... not the settings of the codec but the project itself, the information inside my inspector window changes. Now instead of Codec Settings I have A/V Attributes... there is an option there for Native Field Dominance? Which one do I change? How many field dominances are there? I have 1 in Final Cut another 1 in my AV Attributes of my project in compressor and a 3rd on in the codec settings.
I hope these questions make sense. They are confusing issues to me so I'm not quite sure how to ask them.
Thanks a lot.
-Drew

It's not surprising that you're confused. It's a pretty confusing subject. Hopefully, I can help you get some sense out of it.
Most of your questions stem from not quite understanding the definitions of "deinterlacing", "progressive frame rate", and "field dominance". Let's start with the last since it pertains to your first question.
When you have interlaced footage, you have 2 fields (as you noted) per frame. One field is drawn on the Odd (or Upper) scan lines of the TV. 1,3,5,7...down to 479. The other field takes the Even (or Lower) scan lines: 2,4,6,8...480. Together they are woven into a single frame.
The field dominance in your sequence settings determines which field is drawn first. DV and NTSC in general is Lower field dominant and if your footage is DV, you should not change this. Interlaced HD is typically Upper field dominant. Again, under most circumstances, this should not be changed. What will likely occur is a "tearing" of the image in movement, particularly noticed in pans or fast action. None draws each line successively which is how progressive footage needs to be interpreted.
However, progressive does NOT mean deinterlaced. Nor does deinterlaced mean progressive. If you use the deinterlace filter in FCP on your DV footage, you merely remove one field from your footage and REPLACE it with a copy of the field you kept. In other words, if you set the deinterlace for Upper, then the clip will copy the image in the Lower field and paste it into the Upper field. The footage will still be interlaced.
In Compressor, changing the Output to Progressive in the frame controls will make your interlaced footage progressive. This should always be done when the final viewing medium is a computer. You see, computer monitors always display thing progressively; they have trouble with interlacing frames. They are not built like TVs. If going to TV, then you want to keep it interlaced (unless you're going for the progressive look), as that is how standard def TVs are designed to view video.
The deinterlace option in Compressor is the same as the filter in FCP, but as you know now, that's not the same thing as making a file progressive.
Finally, the AV settings for the clip you placed in Compressor are the same as the sequence settings in FCP. They help the program determine how the file should be displayed. If you have DV footage, and you switch the dominance in that setting or in FCP, then you risk having your footage look jittery and generally no good.
I hope this clears things up for you a bit.
Andy

To interlace or de-interlace?

..that is the question. My head hurts from trying to figure out when to de-interlace and when not to. Anyone have a nice, simple set of guidelines or a tutorial?
I normally use a Canon Optura 50 in standard mode (SD, 4:3). I use LiveType quite a bit and stills. I often use iMovie to make the still photos have motion since I haven't gotten up to speed in FCE with motion keyframing yet. I use DV NTSC 48kHz as the setup.
I do not have an easy way to look at my work on a NTSC monitor (that is just a TV, right? Sorry if I'm being dense!)
Can I de-interlace specific clips or stills within a sequence?
Other bits of advice in this area?
Thanks!!
Lisa

Lisa,
De-Interlace is a filter and it can be applied to any clip in your sequence, or all clips for that matter if you choose to do so. It's mostly used to reduce the flickering in freeze frames and stills, so I can see why you would be interested in the filter. There is another filter called the Flicker filter but that is mostly used to reduce low grade shimmering especially with small or serif fonts in scrolling text.
A TV is basically an NTSC monitor that has a tuner to receive broadcast television channels. If your TV has a composite, s-video or component video input it can also be used as a monitor. If you have a VCR or a DVD player connected to your TV you are actually using your TV as a monitor ! The point (or benefit) of using an external monitor is that your computer display is never going to show you exactly what your video will look like on a TV or monitor.
You can use your Optura 50 to connect your Mac to your TV and see your real video output. Connect your camera to your Mac with a FW cable, put your camera in VCR mode & set it for "DV in" (the setting is in your camera's VCR setup menus) and connect your analog a/v cable from your camera to your TV. I do it all the time; it works great.

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.

Cannot De-interlace HD footage, importing problem?

I use a Canon hv20 in 1080 HDV mode, I import my footage with imovie via firewire.
whenever I export the footage in any of the expert HD settings, the video is very interlaced (Even though I check the "de-interlace source footage" box)
The only time that the footage is de-interlaced is if i use one of the settings that isnt labeled as HD
I am using h264 for compression, but want those pesky lines gone
I dragged a short clip out of imovie and sent it to a friend with final cut, he tried exporting it in FCP, imovie, Quicktime pro and he could not get deinterlaced HD footage either. He thinks it is something wrong with the import.
When I create a project it is set to 1080i like it should be.
what could be going wrong?

De-interlacing interlaced footage for freeze frames is always a good idea, especially if the freeze frame is motion intensive (for instance if you're pulling a freeze frame from footage of a subject running). If there's not much motion being depicted in your freeze frame, you probably won't see much of a difference, but if there is alot of motion and you don't de-interlace it, you'll end up with a vibrating or flickering look on your freeze frame, which is quite annoying.
I don't want to get into details regarding the technical differences of fields vs. frames (I'm sure that you can find that either here or by Googling "interlaced Fields"), but when you shoot interlaced footage, each frame is made up of two individual fields - one field contains all even horizontal scan lines, and the other all odd scan lines, each sampled at a different point in time. Therefore, when you freeze a frame of footage that is motion intensive, there will be a noticeable difference (due to the motion in the footage) between the two fields, and this is what causes the flickering mentioned above. When you use the "interpolate" option on a de-interlace filter, it literally averages the difference between the two fields and eliminates the flickering.
Hope that helps.
PowerPC G5 & PowerPC G4 Mac OS X (10.4.9) G4: Dual 1GHz, 2G RAM G5: Dual 2.3GHz, 2G RAM, Multiple FW Drives
PowerPC G5 & PowerPC G4 Mac OS X (10.4.9) G4: Dual 1GHz, 2G RAM G5: Dual 2.3GHz, 2G RAM, Multiple FW Drives
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PowerPC G5 & PowerPC G4 Mac OS X (10.4.9) G4: Dual 1GHz, 2G RAM G5: Dual 2.3GHz, 2G RAM, Multiple FW Drives

How to keep quality for 720x576?

I'm making videos that will be displayed on 2nd hand 720x576 TV's. Before I knew that specification I was making the videos at 1080p and the quality was right. This is a large scale installation with many TV's synced together so I need the videos to be M2T and MPEG2 to fit with the system we are using.
I've tried exporting my 1080p project from premiere down to 720x576 MPEG2-DVD, (with top quality settings). I've tried making the video project 720x576 and exporting to that same size. I've tried converting the 1080 video down, (I've tried many programs including HandBrake).
The video just contains text scrolling up (like conventional movie credits). I've made this in Indesign to the same frame size as the Premiere file and exported to JPEG because InDesign doesn't export to anything better than I can see and Photoshop doesn't let me justify the text like it needs to be.
I have Premiere Pro CS5.5.
Any help would be great!

There are some rules associated with titles in DV.
This info has been around so long it is almost funny, but it never goes out of style.
http://library.creativecow.net/articles/hodgetts_philip/titles.php
Also, the speed of the scroll matters when working with interlaced footage. If the scroll looks wrong, change the speed ever so slightly. Keep doing that until you are happier with the results.

Why no 1080p support?

I've got a Canon Vixia HF10 and it drives me nuts that neither iMovie 09 or Final Cut Express support AVCHD 1080p. I'm at least glad that they recently updated FCE to support full 1920x1080 (as opposed to 1440x1080) and that the new iMovie supports it. But I hate dealing with de-interlacing, and I've seen a lot of forum posts in here that '09 doesn't seem to handle de-interlacing well. Virtually all new hard drive or flash based HD camcorders currently on the market can record progressively. Is there some sort of technical barrier to supporting 1080p? Or is it they just want to reserve that feature for their top tier software (e.g. Final Cut Studio)?

Really, that's interesting? It's actually shooting interlaced? Where did you read that? Is it "simulating" progressive or something? Is that something that all AVCHD cameras do or just the Canon Vixia models?
I've been doing some tests since that first post and you're right that I've found good results regardless.
What's interesting is that I did a test and shot the same thing (walking through my office) in 60i and 30p and found that the transcoded AIC files (aquired by having iMovie show me the source file, never dropped into the timeline) show very different results. The shot in 60i showed really awful jaggies around door frames and other edges (I moved it around a lot to force bad results) but the 30p shot looks smooth. This led me to believe that when it only interlaces it when you drop it into the timeline (something I saw suggested on another forum). But then, dropping those same raw AIC files into FCE and looking at the item properties window, it says that both are interlaced. Just curious what is DIFFERENT about them. As far as stats, they're exactly the same, but one is clearly smooth and the other jaggy.
All this to say: I'm going to continue shooting in the 30p setting (regardless of what it's actually doing) and hopefully everything will come out smooth.
Message was edited by: Hanuman
Message was edited by: Hanuman

Downconverting DVCPRO HD to DVCPRO 50

Hello all,
I searched the forums on this broad issue but no posts seemed to discuss my specific prob.
I shot on the HVX-200 in 24PN and began downconverting my imported footage (DVCPRO HD 720PN 24fps) to DV50 23.98. I noticed that media manager could do the job fine but the one issue was the slight aliasing that would occur in the newly downcoverted DV50 23.98 quicktime. It's not even that bad (i.e. It looks less aliased than when you de-interlace an interlaced clip, but it doesn't look right, none the less). I tried downcoverting it several times, experimented with selecting interlaced and progressive settings, among everything else I could think of but the could not figure out the aliasing issue. Then I tried exporting from the Viewer (with the HD clip open in it), no change. Finally I placed the DVCPRO HD clip in a matching sequence (DVCPRO HD - 720p24) and it FINALLY downconverted to a DV50 23.98 quicktime WITHOUT the subtle aliasing.
I had an online editor check it out to see if I was crazy and the only explanation at the time he could think of is the issue was connected to the simple fact that FCP is best described as "field based" and only when the clip was exported from within its matching sequence would it downconvert without the aliasing issue.
The frustrating thing about this is I'd have to manually downcovert every single clip from the timeline, or dump them ALL into a timeline and downconvert, THEN bring in that newly DV50 23.98 downcoverted clip and start subclipping just to get all my footage seperated into clips again.
And no, laying all that footage to tape isn't an option. Shouldn't have to be since I can successfully downconvert, but just can't do a batch process.
Does this all boil down to Media Manager's "recompress" is not technically the same thing as "downconverting" and doesn't guarantee perfect results?

Hey Jx,
For production purposes, there are features in camera such as the varicam overcrank/undercrank ability and others as well that I wanted to take advantage of (I believe 24pNative is only available in HD mode as well, which mainly I just used for it's smaller file size as I was using P2 cards). And the use of P2 cards, eliminating capturing.
For post production purposes, I wanted to be able to deliver my show (a music video) HD down the road and deliver SD for the time being. Plus, I do all the VFX shots with the HD clips for the reason of just working in higher res (cleaner, easier compositing), plus I then have the ability to reframe (i.e. rescale shots) with the HD clips at their 960x720 frame size down to NTSC's 720x480. E.G. I wanna zoom in 20% to crop out a boom mic, etc. I can do it with (essentially) no quality loss.
That's all I can think of at the moment. Hope you buy some of these reasons cuz they were advantages for me. Also, I can't technically explain it but common belief seems to be the downconverted (from HD) DVCPRO 50 shot will look better than the in-camera DVCPRO 50 shot. That statement might be false "a priori" but it wouldn't be the first time I say something foolish. Thanks for posting.

How I export from HDV to SD (DVD)... What about HD versions suitable for Macs and Pcs?

Hi,
      I have just finished editing a short movie based on some high res stills combined with some 1080i HDV footage.
   After completing the edit in CS4 (in a HDV 1080i environment) I went through Adobe Media Encoder in order to downsize and converting into an m2v file ready for my Encore project.
   As you probably well know this is far from satisfactory in terms of the down sampling capabities shown by AME as well as the lack of proper colour conversion.
So, after giving up on the Dan Isaacs method, AVI synth didnt seem friendly to this user... as well as the inability of CS4 to frameserve..
My solution was to exported the Microsoft AVI using the HUFFYUV codec at 100% - With Progressive scan, when ever I interlaced my output it showed obvious interlacing in my player, odd or even fields first...
I then used VirtualDub to do the down sizing
Finally Procoder 3 to convert to m2v.
The results still have no proper colour conversion properties but look much sharper than the regular CS4 encode using AME
   OK, that took an eternity to discover and still leaves me with another problem.
I want to export straight from CS4 to media type that can be played on both PC and Macs in HD.
Before I go down another gruop of dead ends and trial and error discoveries, could anyone here suggest a recomended and successful workflow?
   Many thanks,
Phil.

let me see if I can help out a little here.
The problem with converting 1080i to SD in software is that FCP seems to do a not-very-good job of downsampling the image, particularly when you are going directly to DV. Details get blurry, and other compression artifacts become quite noticeable. I have also experienced trouble with the HDV fields not getting processed correctly if I go to SD mpeg directly from an HDV timeline or movie file.
Your best bet is one of the following workflows:
Export a 1080i HDV or AIC movie file and re-import to FCP. Place this clip into an anamorphic SD sequence. It doesn't matter if the sequence is DV or Uncompressed if you send the sequence directly to Compressor from FCP, because this will ignore any rendered material and use an uncompressed image buffer as it encodes the mpeg. Do not letterbox your widescreen video if you are going to DVD - widescreen DVD video should always be full-frame anamorphic.
Your other option is to attempt to use Compressor to down-res the sequence or a self-contained movie of your HDV, starting with one of the advnace format conversion presets in Compressor. However, you'll have to cutstomize the preset by turning on the frame controls, and testing the settings to make sure you are happy with the result. Turning on frame controls will increase the ratio of your encoding time anywhere from 4 to 20:1.
I have tried all of these methods, and none of them look as good as capturing the downconverted video from the deck after mastering to HDV tape.
Hope this helps -
Max Average

External Monitoring in CS6

Harm, I don't know if you remember me as I haven't been here since Premiere Pro 6.0, but I just upgraded to CS3 and now CS6. These Adobe forums are so over-produced I can't find the correct place to post this question so I hope you will forgive me. How do you get Premiere Pro CS6 to output to an NTSC monitor. I was outputting to this monitor under CS3 by using a Grass Valley conterter box coming out of the system firewire, but it doesn't seem to work under CS6.
Thanks, James
[email protected]
610-688-9212

James Jaeger wrote:
Also I note that some of the reviews on Amazon about the MX02 are not very good, also stating that Matrox's customer service is bad. I tend to agree. My experience with Matrox is their stuff is over-priced **** and they don't back it up with good customer service or returns. AND they're not even IN the US. But you also say the Black Magic card is ****. So I put some of this back on Adobe:
Adobe: you're a multi-billion dollar corporation that has finally, after 10 - 15 generations, designed a very nice editing app, but getting the final product of this app, what us editors slave over, is still a bag of worms. Use some of your clout and make this go away.
James, I can only tell you my experience with Matrox, with only two products, a graphics card from 2000 that was great, and the MXO2 Mini Max, which at least for me has worked great so far. I got one of those great deals B&H has once in a while and I got it for about $600. However, the same model without the Max is about $400 and still gives you perfect output to any HDMI or component monitor or TV set.
In my over ten years of editing video, everything I've read and heard from professionals is that a dedicated timeline monitoring card is absolutely necessary, unless your only delivery is for web or local computer playback. There is absolutely no way that a computer graphics card will deliver the video signal that will tell you exactly what the final product is going to be once it's on the air, or on a Blu-ray, especially when it's interlaced. And this I saw for myself when I couldn't afford one of these cards and I had to use Vegas and Premiere with their full screen modes on my TV set, which acts as a second monitor. Any footage that was interlaced looked totally different as far as the motion goes, and the levels were off. Levels can be calibrated to a certain extent, with test patterns and with your own tests, recording a static scene where you have different levels of light, and especially a couple of items that you can barely see, to switch back and forth between the camera's input and the computer's input, but it won't be exactly the same. But there's nothing you can do about the interlaced footage, unless you never use such footage.
As for what you say to Adobe, I fully agree. It can't be possible that Adobe tries to position Premiere as a professional NLE and many people still have problems with external monitoring cards. Before Premiere CS6 I was using Edius, which I stopped using for creative reasons, but there is no other NLE in the industry that is more reliable and fast. Grassvalley makes not only the software but the hardware, not the full workstation but the monitoring card. This ensures that both are absolutely compatible with each other. I used Edius for weeks without a single crash, and when it did it was usually because of some 3rd party plugin. The other very important thing is that Edius can do everything Premiere does when it comes to real time, but without the expensive CUDA card. In fact, Edius has much faster real time playback and scrubbing than Premiere, all by using just the CPU, which makes obvious that Adobe at some point made a deal with Nvidia, or maybe Grass Valley (formerly Canopus) has the smartest programmers in the world, because I see no other way that can be explained.

Jpeg editing and problem full screen preview

Hello,
I am editting some jpegs together to music and in order for my photos to stay sharp, in sequence settings i have kept the compressor and pixel aspect ratio the same as the images when i look at them in item properties.
So they are compressed by photo jpeg, square and none field dominance.
The problem is that when i drop new photos into the timeline, they now need to be rendered and im not sure why?
Also, when i full screen preview on my imac monitor, you can hear the audio but cant see any images until you pause the movie and then the place where you have paused is shown.
Can anyone please help???
Regards,
Michael

michael gibson wrote:
Hello, i change the compressor from photo jpeg to dv pal as didnt have prores lt. All frame rates and dimensions are the same but i dont really understand field dominance and what progressive means?
No ProRes? What version are you using? Anyways, using DV might get you some slight problems as it's not exactly square pixels ... but it should be negligible.
Field dominance tells you which field (a "half frame") is displayed first when playing back interlaced media. Interlaced video does not have full frames but each frame is composed of two fields, each of which has half of the horizontal lines of the full frame. DV's field dominance is upper, all the other interlaced formats are lower field first. If you set the field dominance to "none" in FCP you get a progressive sequence, meaning you'll have full frames.
You're saying that you changed to DV PAL ... are you in PAL Land? Also you didn't say what your final output will be ... File based? DVD? Web? If there is only one output you should adjust your sequence settings for that.
mish

Mac mini as a dvd player

Just wondering does my mac mini upscale my dvd's when it plays them like a dvd player with HDMI would do.

One of the options of the DVD software is Interlacing in the menus of the application. While not quite upscaling, it does offer a sharper picture for some movies when you do interlace, and sometimes when you don't. Upscaling is a function of the TV set you attach the Mini to, and not so much the Mini itself. The Mini has DVI which can be connected to HDMI with a single adapted cable. Don't try to downstep to VGA, as there you will lose image quality. If your TV has no DVI nor HDMI port, the best image resolution you'll get is 720 x 480 over S-Video as S-Video/VGA adapters exist.

Fuzzy lines in youtube from compressing it on Imovie 09

I have tried to get those fuzzy lines out of youtube, when I do the compression for sharing in high quality, how can I get rid of it.
http://www.youtube.com/watch?v=NBSlL-RF7ao

Hi,
Try exporting your HD footage using one of the exports I've marked in green, I believe there is a bug when exporting HD interlaced footage using the exports I've marked in red that will result in the type of problem you are seeing.
If this does not work you may need to export as Apple Intermediate Codec and run it through JES Deinterlacer.
Uploaded with plasq's Skitch!

Poor quality compression

Hello all,
I have a question. I have a spot that I'm trying to encode for web viewing, and the compression is coming out a bit off. It's not TERRIBLE, it's just a bit "liney" (looks like interlacing issues) and a little splotchy in some parts. I have used this compression before and never had any problems. The source file I am trying to encode looks fine as well, no serious problems that would create these issues in compressor.
My compression is tried and true, but these are my specs:
Description: 640x480
File Extension: mov
Estimated file size: 659.18 MB/hour of source
Audio Encoder
AAC, Stereo (L R), 44.100 kHz
Video Encoder
Format: QT
Width: 640
Height: 480
Pixel aspect ratio: Square
Crop: None
Padding: None
Frame rate: (100% of source)
Frame Controls On:
Retiming: (Fast) Nearest Frame
Resize Filter: Linear Filter
Deinterlace Filter: Better (Motion Adaptive)
Adaptive Details: On
Antialias: 0
Detail Level: 20
Field Output: Progressive
Codec Type: H.264
Multi-pass: On, frame reorder: On
Pixel depth: 24
Spatial quality: 75
Min. Spatial quality: 25
Key frame interval: 24
Temporal quality: 50
Min. temporal quality: 25
Average data rate: 1.536 (Mbps)
Fast Start: on
I'm running compressor 3. Ideas?
Thanks.

What format are you dealing with? HDV?
I tested the settings I mentioned before with DVCPRO HD, HDV and DV and the result was great.
Interlaced issues are visible on a computer screen, have you tried to monitor this externally.
Never trust what you see on a computer screen, especially when dealing with interlaced material.
Also it appears (in your original post) that you had field dominance set to progressive.
More details might help and a screenshot would certainly give us a lead.
Hope this helps,
G.

When to de-interlace

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