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Adding Pulldown back in to video
Hey all,
I have run into a bit of a dilemma and thought I would turn here for help.
I am working on a music video that was shot on an SDX-900 in 24PA. The only way we could capture the footage was via Kona LHe and as SDI footage. So, I know I have to remove the pulldown.
I have already gone through and performed the Reverse Telecine in Cinema Tools to remove the pulldown. Now my question is what steps do I need to take to add the pulldown? I need to be able to output this for broadcast television purposes and the Cinema Tools manual is not very helpful in talking about adding pulldown for final output. I know that somehow I need to get ALL the clips back to 29.97 but am not sure if I do this will one completed/exported QT file or if I go back and have to manually work with each clip.
Here is my current workflow
1) Captured individual clips via SDI
2) Batch Reverse Telecine in Cinema Tools from 29.97 t0 23.98
3) Create a New Project in FCP with 23.98 as my frame rate
4) Assembled clips, effects, audio and CC within the sequence
5) I am ready for output and am not sure what to do here.Any help beyond what I have already read (and am still confused) would be greatly appreciated here. Thanks.
Seth
Opportunity is missed by most people because it is dressed in overalls and looks like work.
Thomas A. Edison -
10 Replies
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It’s very simple. Set your Kona’s video output to NTSC 29.97 8-bit or 10-bit. That’s it. 3:2 pulldown is automatically added to 23.98 video during playback.
FYI, you’re imporperly using the term “Advanced Pulldown”. Advanced Pulldown (24pA) is not the same thing as regular 3:2 pulldown.
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Thanks for the reply. I appreciate it and thought it would be a simple fix.
Also, I don’t think I used the word “Advanced” in my post. I just know it was shot on the 24pA setting in the SDX-900 and needed to have the pulldown so that it would play properly and sync to the music. This is my first time using this setting in the camera and since the SDX-900 doesn’t have a firewire device (THANK GOD!) the terminology and tech-speak are a little foreign to me. I am so used to shooting 30p and not having to worry about pulldown/removal of frames for various frame rates.
It would have been easier if this were a Varicam shot! 🙂
Seth
Opportunity is missed by most people because it is dressed in overalls and looks like work.
Thomas A. Edison -
[adguy31] “Also, I don’t think I used the word “Advanced” in my post. I just know it was shot on the 24pA”
24pA = 24p Advanced
Are you sure you removed the pulldown properly? 24pA is different from 24p Normal (or 24p as it’s called in the SDX menu).
Jeremy
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Jeremy,
I followed the instructions to the letter in the Cinema Tools manual for removing advanced pulldown. The SDX has a 24pA mode as well as a 24p mode. This particular video was shot entirely in 24pA so I will not work as a 29.97 sequence (at least it won’t match to the music). So, I did what the manual stated and everything matches up perfectly with the clips in 23.98. I know about the “Advanced” feature and that’s why I used Cinema Tools; otherwise, I would have just captured in good ‘ol 29.97 and gone from there if it had been in 24p, 30p or 60i.
I think that working with the SDX and trying to figure out the advanced pulldown is somewhat confusing and frustrating. I will make certain the videographer never shoots in that mode again as this has become a monstrous headache.
So, yes. I followed the instructions to the letter and it works. I know the difference between 24p and 24pA in the SDX-900. What I was uncertain about was the best way to capture via SDI and still maintain the timing of the song. That’s fixed and based on Cineam Tools (page 211-217 in the manual), I did everything correctly. Now, I just need to make certain that when I output this for broadcast with a number of national music television companies that it plays back accordingly.
Seth
Opportunity is missed by most people because it is dressed in overalls and looks like work.
Thomas A. Edison -
Cool man, just making sure as it seemed to me that you didn’t know that 24pA didn’t mean Advanced. Just trying to get on the same page.
24pA comes into play when you can capture over firewire and remove the pull down while capturing. As you have found out it is not very easy when capturing over SDI.
If you shoot 24pNormal you can capture and remove the pulldown on the fly with a Kona, but it has to be setup properly and there’s a bit of a trick to it, but it does work and work well.
As far as adding pulldown back out, the KOna will do that on the fly as has been already stated, or you can conform the movie in Cinema Tools with a click of the conform button. It’s very fast.
Jeremy
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Yeah, the Kona adds it on output. You’re fine.
I misread your post about “advanced”.
Just to be clear, the Kona adds regular 3:2:3:2 pulldown. It does not convert it back to 24pA (which is 3:2:2:3 I think). If you’re going back to DVCam, you’ll need to use Firewire in order to record 24pA.
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[Sean ONeil] “Just to be clear, the Kona adds regular 3:2:3:2 pulldown. It does not convert it back to 24pA (which is 3:2:2:3 I think).”
to clarify
the Kona Control panel can control 24fps – 30fps output using any of the 3 conventional pulldown patterns as the standard 3:2, as pA 3:2:2:3, or Sony’s 2:2:2:4 from the “codec” pane of the control panel
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows -
Wouldn’t using the “conform” function in Cinema Tools to convert 24p to 29.97 just speed the footage up and not add pulldown?
Best,
eli -
Conform. Did I say conform? I did say conform.
What I meant to say was output during playback.
Conforming 24p to 29.97 will in fact speed up the footage, yes. Good catch, Eli.
Jeremy
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[gary adcock] “the Kona Control panel can control 24fps – 30fps output using any of the 3 conventional pulldown patterns as the standard 3:2, as pA 3:2:2:3, or Sony’s 2:2:2:4 from the “codec” pane of the control panel”
You’re right. My bad.
Blackmagic cards can only do 3:2.
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