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Professional way of adding 3:2 pulldown to 24p
I’ve searched and haven’t found a good solution so I thought I’d start fresh.
We edited a :30 spot in 23.98 and need to deliver as a 29.97 digital file. I searched and haven’t found a good way of doing this that gives professional results.
Typically I play out through a Kona card to BetaSP (ugh) or through Firewire to DVCPRO… and it looks PERFECT. 29.97 with a 23.98 look. It’s hard to believe there’s not a way of doing this conversion well while keeping the output inside my computer.
– Compressor does a surprisingly great job of making it look like it was shot in 30p – but we’re losing the 24p look.
– Using AE to add the drop frame back in looks like garbage. The motion isn’t smooth and every 4th or so frame gets blurred.
– Bought the Nattress standards conversion set and it also makes it look like garbage (similar to what AE does).
Answers to questions you’ll probably ask:
– Yes, I’m watching it on a broadcast monitor.
– Because we filmed with the Red camera, which only films in 23.98
– Because a couple of our stations will only take 29.97 in digital formatThanks so much for your help, guys!
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23 Replies
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Sorry guys – posted too soon. I experimented with the setting a little and got it looking pretty good.
Thanks again!
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….using what software and settings.?
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I established that. Thanks, though.
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Jerry:
In After Effects pretty much the way Dave posted.
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Good point.
We use Red proxies for editing which link back to the original R3D files and its metadata (which is usually 4K, always straight 23.98). I don’t think Red does any of that pulldown or 59.94 mumbo jumbo that the broadcast cameras do. We own an old tape-based Varicam and I rarely use it for that reason — there’s always some sort of frame rate or interlacing issue.
For finishing we usually downsize the footage to 1080p, straight 23.98 within the Red software package and play out from a 1080p timeline. Basically it stays straight, clean, unmolested 23.98 the whole way through.
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Compressor does this. In frame controls, set feld dom to upper, deinterlace and frame rate conversion to fast.
Interlaced 3:2 pulldown. Booya.
Jeremy
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Hi Dave,
I am following the method of 3:2 pulldown you described above in AE Cs5, and have a question…
When I come upon the Render Settings, the 3:2 pulldown field is greyed out. When I set the Field Render setting to “Upper Field First,” I can then select one of the five pattern options for the pulldown.
So, my question is, how can I achieve the pulldown without having interlaced video?
I would appreciate your wisdom,
Matt Wiggins
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hi Jeremy,
i was wondering if your compressor process would work in this situation: i got a QT file that’s 1080p24 ProRes & i would like to convert it to HDV 1080i60.
i’ve ran a couple of tests but would always get(not sure the proper term) a double frame-blending, ghosting type look every 4th & 5th frame(especially during motion) – is that what i’m supposed to be getting?
i can give more details if this is possible to do w/o issues as this will be going to broadcast.
i posted this issue a little earlier, but came across your post & wanted ask your opinion.
thank you & i appreciate your time.
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One thing I found out is that you have to look at the interlaced version on a broadcast monitor to see if it’s right. Watching it in QuickTime on your machine makes it look jumpy and jerky (with that interlaced ghosting you’re talking about).
Hope this helps.
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[Homer Lee] “i’ve ran a couple of tests but would always get(not sure the proper term) a double frame-blending, ghosting type look every 4th & 5th frame(especially during motion) – is that what i’m supposed to be getting?”
It’s hard to tell without looking at it, but that does sort of fit the description for 3:2 pulldown. You should see 2 interlaced frame, then 3 progressive frames. If you post a second of full resolution video, I will happily check it on a monitor for you which is truly the only way to ensure it worked properly.
Jeremy
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