59.94 > 23.98 major issue !!!

[Steven Gonzales]

I haven’t dealt with this, but perhaps you can only remove pulldown for DVCPROHD when the footage is tagged as such in the camera.

Have you tried using the reverse telecine feature in Cinema Tools? This might work for you.

[Jeremy Garchow]

How are you coming in from the 1200A? Firewire, Kona? Are you sure the telecine house recorded user bits with the proper flagged frames? Have you tried the DVCPRO HD 720p24 setting if coming in firewire?

Jeremy

[Xstimux]

Yes. I tried that in cinema tools …. The reverse telecine is greyed out as if not an optin with my footage. When I try and batch reverse telecine my folder it says “Video does not have a valid NTSC video rate”. My footage is 59.94. Its valid. Dont know what to do.

[Xstimux]

What if I dubbed my tape back onto a varicam … would my dubbed tape then have the flags needed by fcp to do “remove advanced pulldown”?

[Sean Oneil]

The first thing you tried did not work because “Advanced Pulldown Removal” is a special feature for a handful of standard-defenition NTSC cameras. You used regular telecine pulldown.

The second thing, the Panasonic DVCPro Frame-rate converter, also will not work because this reads flags created by a Panasonic Varicam camera. Doing a telecine from film will not add these flags. The tape doesn’t “know” where the good 24 frames are because there are no flags marking them. Only a Varicam camera can add these flags, as Steven mentioned.

So normally a telecine to 30/60 is 60i interlaced. So with that, you can just do a 3:2 pulldown removal, or reverse telecine. There are several ways to do this, one of them is Cinema Tools. But I’m not sure that will work for you because it sounds like you transfered the film directly to 60p somehow. This is not common practice, since 720p tape formats can record at 24p natively. Often, film based material needs to be delivered at 60i for the broadcaster. But this is for a final master, not something to be edited.

So if you do have 24fps within 60 progressive frames, and there are duplicate progressive frames making up the difference. But with no Varicam flags identifying them, there’s no way to quickly remove them and go back to 24p.

I think you best bet is to create a 23.98fps sequence in Final Cut. Throw the clips down on the timeline and render a few seconds. If there is any stuttering (duplicate frames) then the cadance is off. If so, just shift the clip down a frame and check again. Once you find there are no redundant frames, you should export it as a self-contained 23.98 clip. Hopefully you don’t have a lot of short clips because you migh have to find the cadance of each one. Also, if you have the drive space and speed I would make it an Uncompressed 8 or 10 bit sequence before exporting. That way you don’t lose a generation in quality.

Or you can try using Cinema Tools. I’m not sure if the reverse telecine feature will work with progressive 60p, but it might.

Sean

[Xstimux]

Thanks for the responce. Live and learn for the next telecine session I guess. How should I go about my next transfer? What setting on the deck do I need?

For now I exported all my 59.94 material from within quicktime to 23.98 material. It actually did a great job and just took out all duplicate frames no problem. I could not see any generation loss as well so …. turned out good for now. But I owuld love to know for the future what I should do.

Thanks again!!!

[Jeremy Garchow]

[Sean ONeil] “Only a Varicam camera can add these flags, as Steven mentioned.”

This isn’t true. The 1200A can record the frame rate in the user bits, but it has to be setup correctly. This way, if you have a 23.98 timeline playing out of your NLE, and you lay it off to tape @ 60p, you can recapture your master @ 24p since the tape has flagged frames marked properly in the user bits.

Jeremy

[Mark Maness]

Ok fellas….

Let’s make this a little easier for xstimux. I understand your pain and can sympathize with you! Just to make it easier on you. Digitize your footage at 720p60 and use Cinema Tools / Compressor to do the conversion for you. Sometimes real life situations make for a rough time compared to the theory of the way software is supposed to work.

_______________________________

Wayne Carey
Schazam Productions

[Jeremy Garchow]

Not so sure if this is a software issue as opposed to a telecine issue. It is possible to do what he wants to do. i just prefer to be thorough and get down to the crux of the issue, and THEN find the workaround. Would you want to pay the transfer house that screwed up your workflow?

Jeremy

[Gary Adcock]

[Sean ONeil] “The first thing you tried did not work because “Advanced Pulldown Removal” is a special feature for a handful of standard-defenition NTSC cameras. “

To be correct it is not just NTSC but all interlaced formats, Progressive capture does not have a need for 24pA.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com