Transitioning: BIG Premiere Pro Interlace “Gotcha!” on Export

Well, I got burned by a very large “gotcha” when exporting a project for color grading in Apple Color.

The project was a 10 minute story for a broadcast series, all shot P2, 1080i / 29.97. I edited in an AJA 1080i / 29.97 timeline with all the native material. At the end of the edit, I exported a Self Contained ProRes Quicktime to be sliced up and sent into Color. The Export looked correct in Color, I did the color grade, rendered brought it back and it looked all wrong. Like it was 24p stutter or something. I got burned by an extra step in the export process I didn’t think I needed.

Ok, here’s the export dialogue from Adobe Premiere Pro as I had it originally.   Everything looks correct.  Codec is ProRes 422, Frame Size is correct, Upper Field First is correct and Square Pixels is correct.

So I’m scratching my head on what in the world has gone wrong here.  Why are my Color renders all looking like they are interlaced rendered to progressive?

See that button under Apple ProRes 422 that says “Codec Settings?”  That’s the answer.

I have to check Interlaced AGAIN in the Codec settings to tell Premiere Pro to output the file correctly.  I’m not sure why we have to tell it to interlace twice, but we do.

So I had to re-export the original file, slice it up again and send it through Color again.   At least I could re-use all of my grades so that wasn’t a problem and it turned out not to be too much time lost.

Needless to say I have now saved a custom preset with BOTH interlace options set to Upper Field.   Now YOU know and it doesn’t have to happen to you.  :)

 

3 Comments

    • You also have to do it with PsF progressive 23.976. Even though in the external box you set it to progressive, you have to set the pop-up to Interlace to keep it PsF. At least for Media 100 2.1 to accept it as PsF.

  1. Thank you! This was driving me crazy. It’s rare that I work with interlaced video these days (thankfully), but I had a musician/client who could only provide DVDs of his concert footage. Those segments of the final piece looked okay when projected on a screen for an awards event, but when exported for the web, they looked awful (beyond the fact that they were standard def). I don’t think the quality of Media Encoder’s deinterlacing is very high (nor its H.264 compression in general).

    So I decided to export a ProRes file with the interlacing in tact so that I could deinterlace in Apple Compressor while converting to H.264. Setting “Field Order: Upper First” on the ProRes export didn’t seem to do anything though. Now I know why!

    I switched to Premiere as my primary NLE almost exactly a year ago. I think I made the right choice, but there are still a lot of gotchas. I also continue to rely on Compressor quite heavily.

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