Most media players these days will deinterlace on the fly when they see the 60i header on the stabilized footage so this isn't immediately obvious, but if you use these clips in a progressive project you will lose about half your vertical resolution by the time you render out your final master. After running it through Mercalli the comb artifacts are everywhere that there is motion. If you look at the AVCHD before it is stabilized in Mercalli SAL 3, there are no comb artifacts. What happens when you stabilize progressive footage as though it was interlaced is that you actually generate interlace comb artifacts. This is especially true of cameras like the Panasonic hybrid cameras like my GH3 which put their AVCHD footage in a Bluray type file structure. The problem is that on a lot of AVCHD cameras, the image is actually progressive even though the header says that it is interlaced. If the header says it is progressive, it processes it frame by frame, and if the header says it is interlaced, it separates the fields and treats it like interlaced. The way it determines which process to use Is by reading the header. With interlaced footage, it separates the even and odd frames, stabilizes them separately, then folds the two field separated and stabilized fields back into an interlaced fram by even and odd lines. With progressive footage it stabilizes the image by looking at the differences between frames and stabilizing on I believe six axises. Mercalli SAL 3 treats interlaced and progressive footage differently.
Mercalli SAL is really quite brilliant, but I really haven't been able to make much use of it because of a perfect storm of issues.
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