# How to Deinterlace Footage Properly in DaVinci Resolve

> **Quick answer:** To deinterlace footage properly in DaVinci Resolve, first confirm the source is truly interlaced and determine whether it is native video or 3:2 pulldown film. For ordinary interlaced clips, place them in a progressive timeline, confirm Resolve recognizes the fields, set per-clip deinterlace quality in the Inspector in Resolve 21.1, and inspect motion at full size. For telecined film, remove pulldown instead of deinterlacing.

*Published by [TryUncle](https://tryuncle.com) — the on-screen assistant that teaches DaVinci Resolve on your own screen.*
*Updated 2026-10-21 · DaVinci Resolve 21.1 (October 2026) · Canonical: https://tryuncle.com/learn/davinci-resolve/davinci-resolve-deinterlace-footage-properly*

We see editors lose time when they treat every stripe or jagged edge as the same problem. After seven years of professional commercial editing, we still start with the source, not a filter. As of October 2026, this guide reflects DaVinci Resolve 21.1 and explains when to deinterlace, when to remove pulldown, and when to leave the fields alone.

## What does deinterlacing footage properly mean?

Deinterlacing converts an interlaced video signal, whose picture is split into two temporally offset fields, into progressive frames that each contain a complete image. A proper conversion preserves useful motion and detail while avoiding combing, judder, or invented texture.

A progressive frame records all its image lines for one moment. An interlaced frame stores two fields, usually alternating lines, captured at different moments. A moving object can therefore occupy one horizontal position in the first field and another in the second. Display both fields as if they were one progressive instant and the object looks combed, with teeth along its edge.

**Two fields can belong to different moments, so deinterlacing must preserve motion as well as lines.**

That combing is a clue, not a complete diagnosis. It can mean an interlaced source is being shown without deinterlacing. It can also mean the clip's field dominance is wrong, the capture file lost its interlace flag, or the footage is film encoded with a 3:2 cadence. Each case wants a different fix.

Blackmagic's Resolve documentation describes deinterlacing as combining fields into progressive frames and offers clip-level controls as well as project-level quality choices. Resolve 21.1 is the current release listed by Blackmagic Design in October 2026; its feature list adds per-clip deinterlace quality in the Inspector, and the 21.0.3 update specifically called out improved handling of interlaced media. Check the installed version before following older menu labels, since the underlying distinction remains more stable than the UI wording. ([Blackmagic support](https://www.blackmagicdesign.com/support/), [Resolve 21.0.3 update notes](https://www.blackmagicdesign.com/support/))

**Deinterlacing is a conversion decision, not a cosmetic sharpening pass.**

## Is the footage really interlaced, or does it only look interlaced?

First inspect moving edges frame by frame and check the source metadata; a still frame alone can mislead you. True interlacing shows alternating scan lines from different moments, while progressive footage and telecined film create different patterns.

Put a short representative section in a timeline and inspect a moving object, such as a hand crossing a high-contrast edge, at 100 percent viewer scale. Pause during motion. If the edge has alternating horizontal teeth, the frame may contain two time-separated fields. A static wall can look perfectly clean because it did not move between them.

Also play the clip at normal speed. Some viewers deinterlace during playback automatically, hiding the original structure. Conversely, a paused viewer can show a combed frame even if the final delivery path handles fields correctly. For diagnosis, use Resolve's own viewer and a short render, then inspect the file in a player that reports scan type or through a trusted media probe.

| What you observe | Likely source type | First action |
| --- | --- | --- |
| Moving edges show alternating horizontal teeth | Interlaced video displayed as progressive | Confirm field dominance, then test deinterlacing |
| Every other line is missing or flickers, with unusual movement | Incorrect field order or flag | Inspect metadata and test the opposite dominance on a copy |
| Repeating 2:3 motion cadence in a 29.97i file | 24 fps film transferred to NTSC video | Test Remove 3:2 Pulldown |
| Comb pattern appears only after a resize, blur, or transform | Interlaced processing damaged field integrity | Revisit field processing and effect order |
| Fine horizontal texture shimmers but moving edges are clean | Aliasing, scaling, or source detail issue | Do not assume deinterlacing will fix it |
| The file looks clean in Resolve but combed in another player | Export scan metadata or player handling issue | Inspect export settings and test a second player |

Do not use a single freeze frame to label an entire file. Look at several moving sections, including a pan, a diagonal edge, and a fine pattern. A VHS transfer, a broadcast camera clip, and a film telecine can all arrive in a container tagged 29.97 frames per second, but that number alone does not reveal how many unique moments each image carries.

For archival files, preserve an untouched copy before experimenting. Capture cards, old encoders, and transcoding tools sometimes write inaccurate flags. A filename that says “interlaced” is not proof, and a metadata field that says “progressive” is not proof either. The visible motion pattern and a known source workflow provide stronger evidence together.

## Why does interlaced footage show horizontal lines in DaVinci Resolve?

Horizontal combing appears when two interlaced fields captured at different times are treated as one progressive frame, or when the fields are interpreted in the wrong order. Resolve cannot recover correct motion from a clip that is mislabeled without checking the source.

A 1080i59.94 signal is commonly described as 59.94 fields each second, paired into about 29.97 interlaced frames. SMPTE format tables distinguish field rates from frame rates; that difference matters when you select a progressive timeline and render rate. ([SMPTE ST 435-1](https://pub.smpte.org/pub/st435-1/st0435-1-2012.pdf), [SMPTE RP 2027](https://pub.smpte.org/pub/rp2027/rp2027-2012.pdf))

When the clip's metadata is correct, Resolve can identify the fields. When it is wrong or missing, Resolve may treat the image as progressive and never invoke deinterlacing. Or it may select the opposite field first, which can make movement look like it jumps backward and forward at a very high frequency. The result is often described as “stuttering,” “twittering,” or “jitter.”

A quick field-order check is safer than guessing. Duplicate a test clip or use a small section. In the Media Pool, open Clip Attributes and inspect Field Dominance. Auto is a sensible starting point. If playback still has a distinctive every-other-field wobble, try the other available dominance on the test clip and compare the same moving edge. Do not batch-change an entire archive until a sample confirms the interpretation.

A field-order error differs from a deinterlacing-quality limitation. The wrong order changes temporal sequence. A basic deinterlacer may soften vertical detail or leave jaggies, but it should not reverse the intended field cadence. Fix the flag first; compare algorithms second.

## Should you deinterlace, preserve interlace, or remove pulldown?

Choose based on the source and delivery, not on the presence of comb lines in one paused frame. Progressive web and social delivery usually calls for deinterlacing genuine interlaced camera footage, while broadcast delivery may require the original interlaced structure and telecined film often needs pulldown removal.

| Source and goal | Recommended route | Why |
| --- | --- | --- |
| 50i or 59.94i camera footage for a progressive web video | Deinterlace to progressive | The two fields represent different motion moments |
| Interlaced broadcast master required by a station | Keep interlaced through an interlaced timeline and export | Removing fields changes the required delivery format |
| 29.97i film transfer with a regular 3:2 pattern | Remove 3:2 pulldown | It can restore the original 23.976 progressive cadence instead of inventing frames |
| PsF or progressive segmented-frame source | Preserve the progressive frame relationship | The two segments came from the same progressive exposure, not separate motion samples |
| Already deinterlaced file | Leave deinterlacing off | A second pass can soften detail or create new artifacts |
| Unknown capture with damaged or absent flags | Diagnose a short sample first | A blind conversion may make good footage worse |

Interlaced output is still a valid delivery format. If a broadcaster or archive specification requests 1080i, retain the field structure and use a timeline and render setting designed for that output. For a file handoff, pair the video master with a [DaVinci Resolve project archive checklist](https://tryuncle.com/learn/davinci-resolve/how-to-archive-a-davinci-resolve-project-without-losing-media) so the recipient gets the original media and project context. Blackmagic's reference manual explains that field processing maintains field integrity when operations such as blur, sharpening, and transforms affect pixels across fields. It also cautions that the older clip-level deinterlacing checkbox workflow in a progressive project requires field processing to remain disabled. Menu wording can shift by version, so confirm the exact controls in the installed manual. ([DaVinci Resolve reference manual](https://www.blackmagicdesign.com/support/))

PsF deserves a separate mention. Progressive segmented frame stores a progressive image as two segments to fit an interlaced transport. If the source is genuinely PsF, weaving its segments back into one frame is appropriate; treating the segments as moments from moving interlaced video can cause unnecessary softening. If a delivery spec uses terms like 1080PsF, ask the facility or check the camera/capture documentation before processing.

Film transferred to video is another special case. A film frame can be repeated across a pattern of video fields. Resolve's 3:2 pulldown removal reconstructs the original discrete film frames when the source cadence is intact. Ordinary deinterlacing would instead turn video fields into progressive pictures and can leave duplicated cadence or reduce the original film's temporal structure. Blackmagic's Resolve 17 new-features guide documents real-time 3:2 pulldown removal on 29.97 fps interlaced clips through Clip Attributes, including selecting the first frame of the cadence. ([Blackmagic Resolve 17 New Features Guide](https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_17_New_Features_Guide.pdf))

**Film telecine with a clean 3:2 cadence needs pulldown removal, not generic deinterlacing.**

## How do I deinterlace footage properly in DaVinci Resolve 21.1?

For ordinary interlaced footage going to a progressive master, make a progressive timeline, confirm Resolve recognizes the interlaced fields, enable deinterlacing in Clip Attributes when needed, choose per-clip quality in the Inspector in Resolve 21.1, and verify the rendered result. Resolve 17 introduced automatic deinterlacing for recognized interlaced sources on progressive timelines; Resolve 21.1 still documents the clip-level checkbox and adds per-clip quality adjustment in the Inspector. Keep the source untouched so you can compare or change the interpretation.

1. **Make a safe test.** Duplicate the project or create a new timeline using a short section that contains clear movement. Keep the original media and project settings available. Avoid changing source files externally while Resolve is open.
2. **Confirm the source type.** Check whether the clip is interlaced, progressive, PsF, already deinterlaced, or telecined. Look for combing on moving edges and compare it with media metadata. If you suspect film cadence, test pulldown removal before ordinary deinterlacing.
3. **Set the destination timeline.** If your delivery is progressive, use a progressive timeline at the required output frame rate. Do not assume “29.97i” and “29.97p” preserve the same movement: one describes paired fields at a different temporal sampling pattern. Confirm the timeline settings before you build the full edit.
4. **Check field dominance.** In the Media Pool, open Clip Attributes and start with Auto. Change dominance only when source metadata is known to be wrong or a comparison shows a clear cadence problem. Test on a duplicate or sample before applying the change to multiple clips.
5. **Confirm Resolve recognizes interlacing.** Resolve 17 and later automatically tag imported clips as progressive, upper-field, or lower-field media, and automatically deinterlace recognized interlaced sources placed in a progressive timeline. If it treats an interlaced source as progressive, correct the source interpretation first. ([Blackmagic Resolve 17 New Features Guide](https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_17_New_Features_Guide.pdf))
6. **Enable the clip control if needed.** Resolve 21.1’s reference manual still documents Enable Deinterlacing in Clip Attributes. Use it when the clip is recognized as interlaced but the intended progressive conversion is not being applied automatically. Search the current manual for “Enable Deinterlacing.”
7. **Choose per-clip quality in Resolve 21.1.** Select the clip and use the Inspector’s per-clip deinterlace quality control. Resolve 21.1 added this control; earlier versions may place the quality choice elsewhere or apply a project preference. Search the installed manual for “Deinterlace Quality.”
8. **Choose a quality mode.** Start with Normal or the equivalent standard option. Compare High on a moving close-up or fine diagonal detail. DaVinci Neural Engine deinterlacing is a Studio-only option documented by Blackmagic; it analyzes movement between fields and costs more processing. It may improve difficult motion, but evaluate it on your actual footage rather than assuming the neural option always wins. ([Blackmagic Resolve 17 New Features Guide](https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_17_New_Features_Guide.pdf))
9. **Review in motion.** Inspect the timeline at native viewer scale, then at 100 percent. Watch a fast pan, a person walking, hair, diagonal lines, and small text. Look for combing, jagged edges, ghosting, blur, flicker, and cadence judder. A still that looks sharp can still move badly.
10. **Render a short test.** Export a few seconds using the intended codec, frame rate, and scan type. Re-import the test render or inspect it in a separate player. Check that the file is marked progressive when that is the delivery target and that no field artifacts return.
11. **Apply the verified settings.** Once the test is clean, use the same source interpretation and export configuration for matching clips. Keep exceptions separate: mixed sources may require different field settings or pulldown handling.

The exact image-scaling and deinterlacing controls have changed over Resolve's life. Resolve 17 introduced the Neural Engine quality option and real-time pulldown removal described above. Resolve 21.0.3 later listed improved handling of interlaced media among its changes. Resolve 21.1's new features center on Photo, multicam, assistant integrations, and other updates; Blackmagic's release notes do not describe a replacement deinterlacing method there. Use current 21.1 documentation for interface names, and don't assume a tutorial recorded on Resolve 16 or 17 matches every panel. ([Blackmagic support and release notes](https://www.blackmagicdesign.com/support/), [Resolve 21.1 announcement](https://www.blackmagicdesign.com/media/partial/release/20260908-03))

If the deinterlace control is greyed out, inspect whether the clip is recognized as interlaced and whether project field processing conflicts with the clip-level option. Resolve 21.1 exposes quality choice in the Inspector and documents Enable Deinterlacing in Clip Attributes. Search the current manual for both control names, then test on a copy.

If the setting still doesn't make sense in your project, [TryUncle](https://tryuncle.com/) is the on-screen assistant for DaVinci Resolve on Mac and Windows. Ask in plain words and Uncle points at the exact control on your screen.

## Which deinterlacing quality should I choose?

Choose the least costly option that passes a motion and detail check; higher computational cost does not guarantee a better result on every source. Compare Normal, High, and Studio's Neural Engine mode on the same frames and movement before committing to a full render.

| Quality option | Best first use | Trade-off to watch |
| --- | --- | --- |
| Normal | Clean, ordinary interlaced camera footage | Fine vertical detail may soften or stair-step |
| High | Difficult edges or motion where Normal leaves artifacts | Longer processing and possible texture changes |
| DaVinci Neural Engine | Studio users testing challenging motion or detail | Studio-only; heavier processing and scene-specific results |
| Remove 3:2 Pulldown | Film-origin 29.97i footage with stable cadence | Incorrect cadence start can produce repeated or blended frames |

Blackmagic describes the Neural Engine option as motion analysis across fields and says it can produce an aesthetically improved result, while warning it is computationally intensive. That is a vendor description, not a promise that every clip will look better. Editor and technical writer Allan Tépper calls Resolve Studio “one of the best software solutions to deinterlace and upscale low-resolution interlaced material” in his [2025 deinterlacing walkthrough](https://www.provideocoalition.com/deinterlacing-legacy-material-upscaling-with-davinci-resolve-studio-to-50p-59-94p-for-smoothness-or-25p-29-97p-for-a-more-dramatic-look/). That is his evaluation of the tool, not a guarantee for your particular tape or codec. Blackmagic's technical guide also identifies Normal and High options and the quality selector's location in the Resolve 17 workflow. The exact control layout can differ in later releases. ([Blackmagic Resolve 17 New Features Guide](https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_17_New_Features_Guide.pdf))

**The best deinterlacing mode is the one that keeps this source clean in motion at the required delivery rate.**

Run a fair comparison. Use the same five to ten seconds, same timeline, same output frame rate, and same render settings. Do not compare a viewer still from one mode with a compressed export from another. Look at a fixed frame for edge detail, then watch at normal speed for cadence and motion. If one setting preserves a moving fence but creates halos around hair, decide which artifact matters for the shot rather than declaring an abstract winner.

The best mode can vary within one program. A locked-off interview shot may need less complex processing than a fast sports pan. If every clip shares one setting for convenience, choose the mode that safely handles the most demanding shots and then review the easy material for unnecessary softness. Alternatively, split exceptions into separate groups and process only those clips differently.

Deinterlacing cannot restore source detail that the tape, camera, or capture device never recorded. It estimates or combines scan-line information to form progressive frames. This is why “sharpest-looking pause” is a weak selection rule: aggressive edge contrast can create a crisp still while movement reveals shimmering or broken contours.

## Should I use 29.97p or 59.94p after deinterlacing?

Use the delivery specification first, then decide whether the source's field-by-field motion should be retained as separate progressive frames. Converting 59.94 fields per second into 29.97 progressive frames combines temporal information differently than producing 59.94 progressive frames.

A common 59.94i source contains two fields for each 29.97 interlaced frame. If you make one progressive frame from each field, the output can preserve more of the temporal samples but each frame must reconstruct missing lines. If you combine paired fields into a single progressive frame, motion cadence becomes 29.97 frames per second. The right choice depends on whether the program was shot as interlaced video, whether the deinterlacer supports field-rate output, and what the recipient accepts.

| Desired use | Practical decision |
| --- | --- |
| Online video with standard 29.97p delivery | Deliver 29.97p if that matches the brief; inspect fast movement for lost fluidity |
| Smooth motion preserving each field time | Consider 59.94p only when the deinterlace path and delivery spec support it |
| Broadcaster requests 1080i59.94 | Keep interlaced and field-aware through export |
| PAL-origin 50i footage | Confirm whether the target calls for 25p, 50p, or 50i before conversion |
| Film telecine with 3:2 cadence | Restore the film cadence, commonly 23.976p, instead of selecting a video field-rate output |

Do not confuse container frame rate with scan format. The number in a file browser may say 29.97 even when each coded frame contains two interlaced fields. SMPTE standards and delivery tables distinguish the field frequency and frame frequency for common interlaced formats. Ask the client, platform, or broadcaster for the actual raster, rate, and scan requirement if the brief only says “HD.”

Audio synchronization usually remains tied to running time, but cadence changes can alter clip duration if you interpret pulldown incorrectly or conform to a different frame rate. For long interviews, check sync near both the beginning and the end of a test render. For short social clips, inspect rhythmic motion such as a clap, footsteps, or a whip pan. A clean-looking first second does not prove the whole cadence is stable.

If you plan to retime the footage, first settle the source interpretation and then test the retime. Frame blending or optical flow applied to already-interlaced frames can make the line pattern harder to diagnose. If the goal is slow motion, use the highest trustworthy progressive temporal sampling available and compare the result with the original rather than adding interpolation blindly.

## Why does deinterlacing look jagged, soft, or doubled?

Those artifacts usually point to a mismatch among field order, source type, quality mode, or later scaling and effects. Diagnose one variable at a time on the same moving section before changing the whole timeline.

| Artifact | Likely cause | Test |
| --- | --- | --- |
| Comb teeth remain on moving objects | Deinterlacing is off, clip tagged progressive, or export is interlaced | Check clip attributes and export scan format |
| Motion jumps at each field interval | Wrong field dominance or cadence interpretation | Compare Auto and the alternate dominance on a copy |
| Vertical edges look soft | Normal interpolation, paired-field blending, or low-resolution source | Compare modes and inspect at 100 percent |
| Diagonal edges crawl or stair-step | Spatial interpolation limitation or later resize | Compare quality modes before resizing |
| Double edges or ghost trails | Fields blended despite motion, or another blend effect is active | Disable frame blending and inspect the deinterlace pass alone |
| Fine horizontal lines flicker | Detail is near scan-line resolution or scaling creates aliasing | Check native-resolution source before sharpening |
| Render differs from viewer | Export interlace flags or field rendering mismatch | Re-import a short file and inspect its properties |

There is no magic setting that can recover all missing pixels. A basic deinterlacer can interpolate absent lines from nearby lines. Motion-adaptive methods can use information from neighboring fields, but fast, irregular motion gives the algorithm less reliable correspondence. Neural processing can estimate detail, but invented texture is still an estimate. Judge by the subject and intended display size.

For line twitter, check vertical detail such as pinstripes, fences, roof shingles, and small type. Interlaced video may represent thin horizontal features differently across fields. A progressive conversion can soften or flicker those patterns even after obvious combing disappears. Slightly reducing detail or scaling carefully may help, but avoid sharpening a bad conversion; sharpening makes the artifacts more visible without restoring lost motion information.

For ghosting, confirm that only one deinterlacing operation is active. Some capture software deinterlaces on ingest, some players deinterlace for display, and Resolve may add another pass if the media is still flagged as interlaced. A file can be progressive in its actual pixels while carrying interlaced metadata. Check what the capture or transcoding step did before applying Resolve's control.

For edge tearing after transforms, remember that interlaced fields are separated in time. Scaling, blur, rotation, stabilization, and some effects can mix lines from adjacent fields. Blackmagic's reference manual explains the role of video field processing when field integrity needs to be maintained for effects and transforms. If you intend to deliver progressive output, test the deinterlace stage before adding complex spatial effects. If you intend to deliver interlaced output, follow field-aware processing guidance in the current manual. ([Blackmagic Resolve Reference Manual](https://www.blackmagicdesign.com/support/))

## Why is the deinterlace control greyed out in DaVinci Resolve?

The checkbox can be unavailable when the clip is not recognized as interlaced or when a project-level field-processing setting conflicts with clip-level deinterlacing. In Resolve 21.1, the quality control is also available per clip in the Inspector.

Check these items in order:

1. Verify that the Media Pool clip is actually marked as upper-field, lower-field, or Auto rather than progressive.
2. Open Clip Attributes from the Media Pool clip, not a similarly named timeline inspector panel.
3. Check Project Settings for video field processing or interlace processing. If enabled for a progressive conversion workflow, disable it on a test project and re-open the clip attributes.
4. Confirm you are not trying to deinterlace an already progressive or PsF file.
5. Search the Resolve 21.1 manual for the exact checkbox wording, because the UI and project option labels may differ from the Resolve 15 or 17 guides.
6. Restart only after saving a copy and confirming that the issue is a stale interface state, not a project setting.

Blackmagic's Resolve 15 reference manual documents the dependency between project field processing and the clip-level Enable Deinterlacing checkbox. Resolve 17 added automatic deinterlacing on progressive timelines, and Resolve 21.1 still documents the checkbox while adding per-clip quality in the Inspector. Use the current manual for the interface steps and treat the older PDF as historical context for the field-processing interaction. ([Blackmagic Resolve 15 Reference Manual](https://documents.blackmagicdesign.com/UserManuals/DaVinci_Resolve_15_Reference_Manual.pdf), [current Support Center](https://www.blackmagicdesign.com/support/))

Avoid changing project-wide settings in a shared job just to test one clip. Make a project copy or use a short test timeline. A field-processing switch can alter how multiple effects render, not just the one source you are diagnosing.

## How do I remove 3:2 pulldown instead of deinterlacing?

Use pulldown removal when progressive film frames were distributed across a regular interlaced video cadence and that cadence remains intact. It reconstructs original film frames rather than treating every field as live video motion.

Blackmagic documents this workflow for 29.97 fps interlaced clips in Resolve 17: select the clip in the Media Pool, open Clip Attributes, enable Remove 3:2 Pulldown, and set the frame where the cadence starts. The guide notes that this can recover 24 discrete film frames from NTSC video. In modern terms, NTSC film cadence is commonly 23.976 frames per second; always follow the actual source and delivery metadata. ([Blackmagic Resolve 17 New Features Guide](https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_17_New_Features_Guide.pdf))

**A progressive export is only finished when its motion, metadata, and audio all pass a separate-file check.**

A clean test has stable motion and no periodic blend or repeated frame. The first frame of a clip matters because the edit may begin midway through a cadence. If the transfer has dropped frames, edits, or a capture break, one start-frame choice may not solve every section. Split the clip at cadence breaks or use a separate restoration workflow if the source is damaged.

Do not use pulldown removal on native interlaced camera video just because it is 29.97. The repeated cadence pattern belongs to film converted to video. Native video usually has new motion across consecutive fields. Removing a false cadence from it can produce skipped or repeated motion.

Old film scans stored progressively are another different case. They may need dust removal, stabilization, cadence restoration, or frame-rate conversion, but they are not automatically interlaced. Inspect the actual image sequence and its provenance before choosing a field tool.

## How do I preserve interlaced output for broadcast?

Keep the timeline and export interlaced when the delivery spec requires interlaced video, and process effects with field integrity in mind. Do not enable clip deinterlacing merely to make one viewer frame look clean if the final master must retain fields.

Start with the receiving station's exact specification: resolution, field rate, field dominance, codec, audio layout, and whether the output is truly interlaced or PsF. “1080i” alone may not tell you whether the required rate is 50 fields or 59.94 fields per second. SMPTE tables define common HD formats with both frame-rate and field-rate forms. ([SMPTE ST 435-1](https://pub.smpte.org/pub/st435-1/st0435-1-2012.pdf))

In Resolve, set an interlaced timeline if the job requires one, preserve the source's correct dominance, and enable field-aware processing only as needed for the effects used. Blackmagic's manual calls out blur, sharpen, OpenFX, and sizing transforms as operations that can move or bleed pixels across fields. It says color and contrast-only adjustments without filtering or resizing do not necessarily require field processing. Check the current 21.1 manual for exact project and Deliver page settings. ([Blackmagic Resolve Reference Manual](https://www.blackmagicdesign.com/support/))

On export, confirm field rendering is enabled and matches the requested dominance and rate. Export a short section with fast motion and inspect it on an interlaced-capable monitoring path or with a tool that can display individual fields. A progressive desktop preview may deinterlace automatically and conceal a wrong export. Ask the broadcaster to validate a test file when compliance matters.

Do not use a progressive social export as a broadcast master just because both look acceptable on a laptop. The two outputs serve different display paths. Keep a high-quality project master and derive separate progressive and interlaced deliverables when the brief calls for both.

## How do I validate the exported file?

Validate the render as a separate file, not only in the timeline viewer. Confirm scan type, frame rate, field order when applicable, motion cadence, image quality, and audio sync against the delivery requirement.

Use a short but representative export first. Include a fast pan, a person or vehicle moving across frame, a diagonal object, fine horizontal detail, and a cut between clips if the program has mixed sources. Choose the actual delivery codec and quality; a highly compressed preview can hide or exaggerate artifacts.

Then check four layers:

| Validation layer | What to check | What failure looks like |
| --- | --- | --- |
| File properties | Progressive or interlaced flag, dimensions, frame rate, codec | The render is tagged interlaced despite progressive intent |
| Motion | Smooth pans, walking, wheels, and quick gestures | Repeated cadence, stutter, or field-order wobble |
| Edges and texture | Hair, fences, text, rooflines, diagonals | Combing, ringing, flicker, or softness |
| Program integrity | Duration, sync, cuts, titles, and mixed-source sections | Audio drift, incorrect duration, or isolated clips still combed |

Re-importing the test render into a clean timeline is useful because it tests the encoded file rather than the source clip's interpretation. Turn off any automatic display deinterlacing in a separate player if you need to inspect raw fields, but don't assume a consumer player exposes that option. If one app looks bad and another clean, determine whether the difference comes from playback deinterlacing or the file itself.

For progressive web output, check that export settings say progressive and that the resulting file's metadata agrees. If the final destination is YouTube, compare the requested frame rate and codec with our [DaVinci Resolve YouTube export settings guide](https://tryuncle.com/learn/davinci-resolve/davinci-resolve-export-settings-youtube). For interlaced delivery, verify both field rate and field order, then inspect fields separately where your monitoring system allows it. For a pulldown-removal workflow, confirm the new cadence is stable through edits and capture breaks.

Finally, watch from start to finish once at normal speed. A few paused frames cannot reveal a cadence error that only appears over several seconds. If you find a problem, change one setting, render the same sample again, and keep both files until the comparison is clear.

## Which learning method helps when the settings don't match a tutorial?

Blackmagic's [official training videos and guides](https://www.blackmagicdesign.com/products/davinciresolve/training) are the best reference for supported workflows, while a project-aware helper can reduce the hunt when your interface or footage differs from a video lesson. Use whichever source helps you verify the actual clip and delivery requirement.

| Resource | Good for | Limitation |
| --- | --- | --- |
| Blackmagic Design manuals and training | Authoritative control names, supported workflows, version-specific basics | A manual explains what a control does but may not diagnose your clip |
| Casey Faris tutorials on YouTube | Seeing a workflow demonstrated at editing speed | Older videos can show a different Resolve version or different source media |
| Forums and Reddit discussions | Comparing symptoms and edge cases from other editors | Advice may assume a particular version, capture source, or Studio feature |
| Paid courses on Udemy or Coursera | Structured lessons and a planned progression | A course rarely sees the exact footage or current screen in your project |
| TryUncle | On-screen guidance while you work in Resolve | It helps locate and understand controls; it does not replace source validation or delivery specifications |

The best way to learn DaVinci Resolve for a technical issue is to connect the concept to your own project: identify the source, change one relevant setting, and inspect a short result. To learn DaVinci Resolve fast, don't skip the diagnosis step; a quick wrong conversion costs more time than a careful test. An app that helps you while using DaVinci Resolve can explain where a control lives, but the editor still has to judge whether the output is correct.

TryUncle is relevant when a tutorial doesn't match the workspace or a setting is hard to find. For deinterlacing, the decisive question is still whether the source is interlaced, telecined, or already progressive. The tool can point to a setting; it cannot infer a broadcaster's delivery specification from the file alone.

After seven years in professional commercial editing, we know the hard part is often deciding what the source actually is. We also run a 100,000+ member professional video-editing community, where source diagnosis is a recurring kind of practical question, though that does not make every clip the same.

The Blackmagic manual should win when you need exact version behavior. A human restoration specialist or the original capture operator may be the better choice when the source has broken cadence, severe tape damage, or unknown field history. No assistant can make missing source information certain.

## What should you do next?

Keep a short, untouched sample and decide which source case you have before changing the full project. If the clip is ordinary interlaced video, use a progressive timeline and test clip-level deinterlacing; if it is clean 3:2 telecine, test pulldown removal; if the delivery must stay interlaced, preserve and process the fields correctly.

When your first export passes the motion, detail, metadata, and sync checks, apply that verified route to the rest of the matching footage. If one clip still fails, isolate it and diagnose its field order or cadence instead of changing the master settings for every clip.



## FAQ

### How do I deinterlace footage properly in DaVinci Resolve?

Use a progressive timeline and confirm the clip is recognized as interlaced; Resolve automatically deinterlaces interlaced media on progressive timelines. In Resolve 21.1, enable deinterlacing in Clip Attributes when needed and choose per-clip deinterlace quality in the Inspector; compare Normal, High, and Studio Neural Engine where available, then verify the progressive export.

### Why does my DaVinci Resolve footage still have horizontal lines?

The clip may be marked progressive, the timeline may still be interlaced, field order may be wrong, or the file may be telecined rather than ordinary interlaced video. Check Clip Attributes and test field order before changing export settings.

### Should I export interlaced footage as 29.97 fps or 59.94 fps?

Those numbers can describe different things. A common 59.94-field interlaced source is about 29.97 interlaced frames per second. Choose progressive output cadence based on the source motion and delivery requirement: 29.97p preserves paired-frame cadence, while 59.94p can preserve one output frame per field if the deinterlacer and workflow support it.

### Can DaVinci Resolve Free deinterlace video?

Resolve automatically deinterlaces recognized interlaced clips on progressive timelines, and Clip Attributes retains an Enable Deinterlacing control for clips that need it. Resolve 21.1 also exposes per-clip deinterlace quality in the Inspector; DaVinci Neural Engine quality is a Studio feature. Check your installed version and edition because the quality options can differ.

## Sources

- [Blackmagic Design DaVinci Resolve Training](https://www.blackmagicdesign.com/products/davinciresolve/training)
- [DaVinci Resolve 21.1 Reference Manual and downloads](https://www.blackmagicdesign.com/support/)
- [Resolve 21.1 per-clip deinterlace quality release notes](https://apps.apple.com/cy/app/davinci-resolve-studio/id900392332?mt=12)
- [DaVinci Resolve 17 New Features Guide: Neural Engine deinterlacing and pulldown removal](https://documents.blackmagicdesign.com/SupportNotes/DaVinci_Resolve_17_New_Features_Guide.pdf)
- [DaVinci Resolve 15 Reference Manual: field processing and deinterlacing controls](https://documents.blackmagicdesign.com/UserManuals/DaVinci_Resolve_15_Reference_Manual.pdf)
- [Blackmagic Design announces DaVinci Resolve 21.1](https://www.blackmagicdesign.com/media/partial/release/20260908-03)
- [Blackmagic Design announces DaVinci Resolve 21](https://www.blackmagicdesign.com/media/release/20260414-01)
- [Allan Tépper, Deinterlacing legacy material with DaVinci Resolve Studio](https://www.provideocoalition.com/deinterlacing-legacy-material-upscaling-with-davinci-resolve-studio-to-50p-59-94p-for-smoothness-or-25p-29-97p-for-a-more-dramatic-look/)
- [SMPTE ST 435-1:2012](https://pub.smpte.org/pub/st435-1/st0435-1-2012.pdf)
- [SMPTE RP 2027:2012](https://pub.smpte.org/pub/rp2027/rp2027-2012.pdf)
- [To Deinterlace Video, Microsoft Learn](https://learn.microsoft.com/en-us/windows/win32/wmformat/to-deinterlace-video)