shift fields?

[Jeff Pulera]

If you’re talking about reversing the field order, right-click your clip in the bin (maybe different on Mac) and select “Modify > Interpret” and this brings up a menu where you can change the field settings and frame rate.

Jeff Pulera
Safe Harbor Computers

[Chris Borjis]

Thanks for the tip Jeff.

I ended up cutting the problem area (just the main video track with razor)
then right-click, Reverse Field-Order.

Fixed!

[Ht Davis]

There may not be, from what I’ve seen, but you can do as you have done, or use the audio sample display to move within miliseconds to make your cuts. If you’ve got 29.97 framerate, you’ve got 54.94 fields per second. So divide a second into 59.94, and you’ll have the timing of one field. 1\60th of a second is roughly .0151515… Cut .01 seconds, and generally, you cut one field. It’s not a good idea, but you can do it. You can also nest a clip first, and end it’s last frame with one full field, doubled onto the track above. For a single frame, it won’t cause any real visual harm. But if you’re reversing a clip:
Start a new sequence with reversed field order. Place the clip, reversed, into this sequence on two tracks, right click and set the only field for the top to upper, bottom to lower. These will play their field only while playing ALPHA on the opposing frame. Clip one field from the appropriate track by the audio timing method (you can show audio units using the Program monitor window menu). You should now have a clip with a 1-field handle.
This isn’t really a decent method for clipping arbitrarily between shots. It really requires some kind of transition.
There is a really simple alternative. Clip out a whole frame, export the frame as a video, set it to Progressive format. This will grab only a single field. Now take that one frame and place it between the two clips, on an upper track. You have a choice. If you set that one frame over them, and remove a field from both, you can use that frame to fill them both. Place it twice, as one field for the first, and one for the second, nudging the two together, keeping the single frame above them both. This will create a smoother transition in the cut.