[Rafael Amador]

[Bret Williams] “He said he could clearly see the interlace lines in all the test shots. Not motion graphics. Not transitions. I doubt he’s even added either. You don’t see interlace lines in progressive footage, no matter the interpretation. Some of his footage likely got shot 25i.”
If the interlace is in the footage, then yes, has been shot as Interlaced.
rafael

[Rafael Amador]

[Bret Williams] ” If you can see interlace lines, then you shot interlaced.”
If he is editing Progressive stuff on an interlaced sequence/project, he will be getting interlacing artifacts on transitions and animated objects.

[Heinrich Dahms] “So what youre saying is, I need to select the whole sequence in the timeline and then reset the whole sequence setting to progressive in settings? So that is, first the individual clip and rhen the whole sequence. “
right.

[Heinrich Dahms] “It also occurred to me, what if I select all the imported clips in the event browser as soon as theyre imported and then reset their settings in the inspector settings? Before I move them to the timeline. Would that make a difference in theory?”
This is what you should have done.
You check the footage as p25, then you open a project matching the footage settings.

Your issue comes because the Samurai has flagged the clips as Upper First.
That’s not a mistake. 1080 stuff (progressive and interlaced) is always streamed as Interlaced.
So the Samurai gets a progressive picture packed as interlaced.
Is to you to tell to your NLE (whatever you use), that the footage is Progressive and no interlaced.

rafael

[Rafael Amador]

[Heinrich Dahms] “When I imported the clips into FCPX, all the clips were tagged as Upper Dominance interlace clips in Settings in the Inspector.”
So FCPX has misinterpreted the field order. That happens because some formats do not properly flag the field order.

[Heinrich Dahms] “I then selected the new clips in the timeline/project and changed their properties to progressive in the settings field in Inspector. Nothing happened in the timeline. “
You changed the field order of the clips (to Progressive), but now you have to do the same with the sequence (project) field order. If you don’t do it, the progressive clips will be rendered field by field so you will get interlaced artifacts from the rendering.
Rafael

[Rafael Amador]

In the FC Forum there are some posts about issues after installing Maverick.
Seems that reinstalling FC fix those issues.
rafael

[Rafael Amador]

[Nicholas Maude] “This may be wrong as I had to update a few things to plug in a new IPhone 5s.”
Are you editing any unsupported format (AVCHD/H264/Mp4)?
If so, convert the stuff to Prores.
rafael

[Rafael Amador]

[Tom Matthies] “I don’t believe that that the earlier (or any) DVX-100 cameras actually recorded at a true 24 FPS rate. I think they actually recorded 24 over 30. Your 24fps footage is likely 29.97fps in reality.”
Tape based formats are built to records standard NTSC (29,987ps). The drum spins 29,97 times per second.
If 23,98fps is implemented, pull-down must be added because the drum keeps spinning at the same 29,97 revolutions.
To get a tape camcorder recording real 23,98fps all the mechanic part (engines, drum, captan..) would be different. That would make more expensive the device. Using an standard camcorder and adding pull-down was the most economic solution.
rafael

[Rafael Amador]

[Fenny Joseph] ” i have tried my level best but i can’t take the output,,, compressor have only 150min not 180min, “
What means that, Compressor stops exporting?
Or you don’t find the correct preset?

Compressor presets are supposed for single layers DVDs.
Putting 180 minutes on a DOUBLE LAYER disc, requires the same than putting 90 minutes on a single DVD.
So use the BEST QUALITY 90 minutes DVD preset.
rafael

[Rafael Amador]

[Kino Haitsma] “But it seems the footage of the HV30 is 4:3 “
The 1440×1080 pixels from the Canon HV30, may look distorted if you are playing the clips on QT, because those 1440×1080 are not Squared pixels, but HD pixels.
Import some clips to FC and have a look to the Browser.
If the definition is 1440×1080, make sure than in the “Pixels Aspect” shows “HD”.
If so, the movie will play 16×9.

Edit both footage on a 1280×720 or 1920×1080 sequence. On both cases SQUARED PIXELS.
rafael

[Rafael Amador]

there is no advantage on digitizing DV as Prores unless you upscale on capturing (if you gonna use it on an HD sequence), and to do that, yes, you need an AJA, BlackMagic or similar.
Rafael

[Rafael Amador]

The main disadvantage may be that is property of SONY.
rafael