Will de-interlacing your footage in color improve quality?

I read that FCP was designed for progressive footage, in color you have the option to de-interlace your footage, I am shooting in 1080i 50 PAL, if I was to de-interlace my footage in color and send it back to FCP, would this increase the quality ? Is there any other way to de-interlace the footage and achieve better quality, or it doesn't matter?
Kind regards
Volker

Deinterlacing in COLOR is in the category of half-superstition.
You are not required to address the issue unless you are introducing any geometric processing, for example, blurs in COLORFX.
One of the reasons we try to avoid any geometry settings is, 1. its handled in FCP, 2. COLOR lapses into frame blending if you attempt to rescale or otherwise do anything in the Geometry room, and or 3. attempt to render in anything other than the Original Format resolution.
jPo

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De-interlace Raw Footage?

If you have footage from various cameras... most are progressive capture and one is interlaced, would you de-interlace the raw footage?
Also, would you try to smooth out shaky footage in the raw or wait till you know that portion of video will be used?
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Robert Broussard wrote:
If you have footage from various cameras... most are progressive capture and > one is interlaced, would you de-interlace the raw footage?
Are you going to use all of these different cameras in the same program? Is it stylistically important they match? If so, you must choose a single format and convert everything to that. Progressive and interlaced are, by themselves, insufficient terms. You can convert 60p to 30i but if you attempt to go the other way there are visible motion and image artifacts you may find disturbing or interesting, depends on your style requirements.
Of equal importance will be matching the levels and color responses of the various cameras.
Robert Broussard wrote:
Also, would you try to smooth out shaky footage in the raw or wait till you
know that portion of video will be used?
Issue here, as Nick notes, is how smoothcam works with media files. Read up on it carefully and do some experiments. It is not a no-brainer and often introduces scaling and rotation artifacts you may find more objectionable than the original footage.
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Is Your Footage Suffering from the Massive Difference in Export Quality Between FCPX

I read this article today and considering I do all my rendering through Premiere or AME it made me a little concerned. What does Adobe think of this? and has any else experienced this problem?
Cheers,
Moja.
I took this article from: Is Your Footage Suffering from the Massive Difference in Export Quality Between FCPX & Premiere?
A rational person might assume that the program from which you export your media wouldn't have a noticeable impact on the quality of the final image, especially if the export settings are identical in both programs. A recent test by filmmaker Noam Kroll might just teach us to think twice before making assumptions.
First, a little bit of background on Kroll's test. Having noticed that exporting from Adobe Media Encoder yielded quicker results than using the same settings and exporting from FCPX, he tended to use Media Encoder for the bulk of his exporting. When a recently exported project came out with some nasty compression artifacts, blocky rendering of certain areas, and a noticeable change in color quality, Kroll put on his detective's hat and tried exporting again from FCPX. To his, and soon to be your, surprise, the exported result from FCPX yielded significantly higher image quality with the EXACT same export and compression settings.
Don't believe it? Have a look for yourself. According to Kroll, "both FCP X and Premiere Pro were set to output a high quality H.264 file at 10,000 kbps." The image on top was exported from FCPX and the bottom was exported from Premiere Pro.
Exported from FCPX
Exported from Premiere Pro
In the shots above, you'll notice more blocky compression artifacts in the version exported from Premiere, especially on the lower part of the woman's face, and there's a fairly significant reddish hue that's been introduced into the midtones and shadows of the Premiere export. Here's a version of the same shot that is cropped in on the woman's face by 400%. This is where the difference between the two starts to become painfully obvious. Again, FCPX is on top, and Premiere on the bottom.
Exported from FCPX
Exported from Premiere Pro
Here's the conclusion that Kroll came to in his post.
After seeing this I can confidently say that I will not be compressing to H.264 using Premiere Pro or Adobe Media Encoder any more. [sic] The image from Premiere is so much blockier, less detailed, and muddy looking, not to mention that the colors aren’t at all accurate. In fact I even did another output test later on with Premiere Pro set to 20,000 kbps and FCP X only set to 10,000 kbps and still the FCP X image was noticeably higher quality, so clearly something is up.
It's really difficult to speculate as to what's going on behind the scenes that's causing such a drastic difference in results between the two programs. However, what is clear is that you should take caution when exporting to h.264 from Premiere and Media Encoder. Regardless of the program that you're using, perform your own tests and make sure that the export process is leaving your media with a visual quality appropriate for the delivery medium.
The good news here is that Adobe is extremely receptive to feedback from their user base, and their Creative Cloud subscription model allows them to roll out updates with a much higher frequency than they could with the boxed version of the Creative Suite. If more people are experiencing these problems and reporting it to Adobe, chances are that we'll see an update with fixes sometime in the near future. With that said, I have no idea how Adobe handles the technical process of exporting, so it could very well take a complete overhaul of how the program encodes h.264 to fix the problem.

Well, I did my own little comparison with a shot from my A7s (XAVCS 50mbps) and seeing as I don't have FCP X I used FCP 7. The AME H264 looks nicer than the FCP one in this instance.
Dropbox - WALKING 444.jpg
Pro Res 444 from Premiere
Dropbox - WALKING AME.jpg
H264 from AME at these settings:
Dropbox - WALKING FCP.jpg
H264 from FCP 7 at these settings:

Cannot De-interlace HD footage, importing problem?

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Hello guys,
I am shooting 7D video so I transcode everything to Apple Prores (progressive).
Then.. I edit in FCP and send it to Color. When I finish coloring I send to FCP again, and then I export my timeline to a quicktime video. MY HUGE problem is that whenever I color correct my footage in Color..using the workflow I just described, the final quicktime file becomes interlaced!!!! If I avoid doing color correction in Color I dont get this problem.
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Will de-interlacing your footage in color improve quality?

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