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24p stutter reduction
Hi. I have inherited a project where the footage was originally shot in 24p. Then it was converted to 29.97 (in order to match delivery specs) and edited in 1080i 29.97 timeline. The footage stutters even on very slow pulls/pushes. I know this stutter is inherent in moving shots in 24p but it seems to be more than I am used to seeing. Is there any plugin that can help this situation? Or is it a problem compounded by the way the footage was converted? Or just something I have to cut around?
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11 Replies
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How was the footage converted? Was it converted by adding 3:2 pulldown? The first thing I would do is to check the cadence. Count the number of whole frames vs. the number of interlaced frames. You can do this in FCP if you make your Canvas/Viewer 100% zoom as opposed to ‘fit to window’. This should be a repeating pattern. The standard/usually best way to do this is by 3:2 (or 2:3) pulldown, 3 full frames and 2 interlaced, repeating. If it is, you can reverse telecine and experiment with other patterns. If it is not, you could have more judder than you want. Hopefully you don’t have 2:2:2:4 pulldown. There are good descriptions of all this here: Wikipedia Telecine, and here: Apple Help.
Michael Gossen
Helium Digital Media -
Thanks. I will check it out. I really don’t know how it was converted. The post house that had the project before is now out of business.
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Checked the cadence and it is 3:2
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That is a good thing for 2 reasons, first that means that it should have been done correctly. Second, if you need to, you can easily remove that pulldown and go back to 23.98. This might not be the way for you to go though because there are other steps to consider with this workflow.
But I forgot to ask how you are viewing your material. Are you watching it on a broadcast monitor or only in FCP? I want to make sure you aren’t doing extra unnecessary work.
Michael Gossen
Helium Digital Media -
I actually have a broadcast monitor ordered but don’t have it on hand yet so I am looking at it on 30″ HP monitor. I figured this is best solved by looking at the broadcast monitor but thought I might be able to get a jump on thinking it through in case I have to go there. Hopefully it looks a lot better on the new monitor!
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Yeah, I would probably wait to view it on a broadcast monitor. If you need to, are you viewing with your canvas set to fit to window? I always recommend viewing everything, especially interlaced material in your canvas and viewer at an evenly divisible zoom factor. 100%, 50%, 25%. See if that helps.
Michael Gossen
Helium Digital Media -
This explanation is incorrect. 3:2 pulldown is 3 fields / 2 fields interlaced.
FCP does not execute this correctly under any circumstances.jPo
You mean “Old Ben”? Ben Kenobi?
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Correct. I meant to say resulting in a discernible pattern of 3 full frames and 2 interlaced. The pattern is about fields, not frames but that is a good way to explain how to see the result. Thank you for the clarification. I want to make sure the info is disseminated correctly. As for FCP not executing this correctly, I don’t know what you mean. Would you clarify?
Michael Gossen
Helium Digital Media -
Joseph, if you are referring to the fact that FCP doesn’t do correct real-time 3:2 pulldown, does that really matter in this situation? Amy is using a 29.97 timeline with the 3/2 already baked in.
FWIW, I wouldn’t really make any judgements about stuttering problems unless I was looking at my footage on a real broadcast monitor, using proper output hardware.
Amy, for the time being, I would make sure your timeline settings are correctly matching your footage settings (field order especially). You could then burn a short section to DVD @ 29.97 and watch your footage on a good old SD tube TV if you have one kicking around.
Matt Lyon
Editor
Toronto -
FCP up to 7 will only export 2:2:2:4 no matter what you choose as a pulldown pattern. I’ve been chasing this for a couple of years now, and the only working solution that anyone has ever been able to suggest has been to export the sequence through Compressor, but you have to get those settings explicitly correct before it will be successful. This sort of started with a procession of Master tape rejections, and discovering that the same issue was being experienced by many others… Mostly starting with the pulldown sequence being locked to 2:2:2:4 in ProRes422HQ sequences. Two/Three wasn’t even an option. Hoping that the rebuild X has given this some consideration, but somehow I doubt it. This becomes extremely important to those of us who deliver network content that includes Dolby E plus collard captioning content. I doubt that these are part of the new application, either.
Yet another show-stopping deal breaker for Final Cut in general, since the other applications do this correctly, out of the box.
jPo
You mean “Old Ben”? Ben Kenobi?
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