Progressive video draws every line of a frame as one complete image; interlaced video divides each frame into two alternating-line fields captured or displayed at different times. That difference affects motion, editing, still frames and compatibility—not just the letter after a resolution number.
How progressive and interlaced video work
Progressive scan (p)
In progressive video, all the horizontal lines in a frame are scanned in sequence from top to bottom. The lines belong to one complete frame; in the ITU definition, they correspond to a single time instant. A label such as 1080p identifies a progressive format with 1080 vertical scan lines in Sony’s examples. Sony’s format guide and Adobe’s After Effects documentation explain the naming and scan structure.
Interlaced scan (i)
Interlaced video divides a frame into two fields containing alternating scan lines. Adobe describes the upper field as odd-numbered lines and the lower field as even-numbered lines. The fields are drawn in sequence, and the field order says which comes first. The ITU glossary specifies that one field begins one field period after the other. As a result, the two fields can represent different moments in time. The ITU H.262 glossary defines the relevant terms.
What the labels and frame rates mean
The number indicates vertical scan-line count in Sony’s examples; the letter indicates scan mode. The rate needs care, particularly for interlaced labels: a stated rate may count fields, not complete frames.
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| Example | What it denotes | How to read it |
|---|---|---|
| 1080i60 | 60 interlaced 1920 × 1080 fields per second | Approximately 30 frames per second, not 60 complete frames per second |
| 720p30 | 30 progressive 1280 × 720 frames per second | Each frame is a complete progressive image |
These are format examples in Adobe’s encoding guidance, not independent performance measurements; the accessed page has no publication date shown. Adobe’s encoding and compression guide gives the examples. Sony also lists progressive examples such as 24p, 30p and 60p, and interlaced examples such as 30i and 60i. Naming conventions can vary with camera, codec and region, so check the recording system’s specifications rather than inferring more than its label establishes. Sony’s frame-rate guide provides those examples.
Why motion can look different
Because interlaced fields are captured or displayed at different times, a moving subject may occupy different positions in the two fields. If software combines them as though they were one simultaneous image, edges can show alternating, comb-like lines. Interlaced footage can also make thin horizontal lines flicker; Adobe notes that freeze frames and slow motion can be difficult to handle.
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Progressive frames avoid this field-combination issue because each frame is a complete image. This makes progressive footage simpler for many current editing and computer-display workflows, especially when pausing, scaling or creating slow motion. It does not mean every progressive source or delivery is automatically better: follow the requirements of the recording format and destination.
Why interlacing exists and when it still matters
Interlacing was developed to transmit television signals with limited bandwidth. Analog television standards used it, and some digital television and older camera or recording formats still use interlaced video. Modern digital systems typically use progressive scanning, but legacy footage and delivery requirements make interlacing a continuing compatibility concern. Adobe’s Premiere interlacing overview covers the trade-offs and handling guidance.
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- Editing a progressive source: Work with its complete frames; there are no fields to weave or separate.
- Editing an interlaced source: Check its field order and use field-aware settings. Preserve interlacing if the destination specifically requires it.
- Making a progressive version from interlaced footage: Deinterlace deliberately. Changing a label alone does not reconstruct a full progressive image from temporally distinct fields.
- Scaling, rotating or applying effects: Treat interlaced footage as field-based. Adobe warns that scaling, rotation and effects can introduce crossed-field artifacts unless the fields are handled appropriately.
Should you deinterlace old footage?
Deinterlace when the intended output or editing workflow needs progressive frames, and use an editor’s field-aware conversion rather than simply relabeling the clip. If the intended destination explicitly calls for interlaced video, preserve the interlaced structure and correct field order. Before converting, identify the source’s scan mode and field order; a wrong assumption can leave motion artifacts or make them worse. The right choice depends on the destination, not on a universal rule that every interlaced source must be converted.
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