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Forums AJA Video Systems Questions about advanced pull down removal & Kona2 FCP 5.02

  • Questions about advanced pull down removal & Kona2 FCP 5.02

  • Jeremy Garchow

    August 26, 2005 at 1:53 am

    Maybe this warrants a call or email to the illustrious aja support team, but I have a couple of questions about adv. pulldown removal (2:3:3:2) from DV50 sources.

    I noticed when setting up a custom easy setup the other day in fcp 5.02, that the dialogue for removing advanced pulldown removal has been changed. We now have the option to click the “remove advanced pulldown from dv25 and dv50 sources”. In fcp 4.5 I believe the dialogue for the tickbox reads “remove advanced pulldown from dv25 and dv50 sources. Does this mean that I can now remove adv. pulldown using the k2 and digitize to any codec I want (mainly UC 8 or 10bit)?

    My next question is, if the above situation is too lofty and easy, can i digitize through firewire into the dv50 codec and remove the adv. pulldown through firewire, then do an ‘online’ using the media manager to an 8bit/10bit 24p setup and have the advanced pulldown removal done then? Since the ‘ghost frames’ are now ‘flagged’ I am wondering if FCP/Kona 2 can discern the difference between the ‘ghost frames’ when onlining in an uncompressed environment coming over the SDI pipe coming from the DV50 quicktime metadata.

    What is it that makes adv. pulldown removal on the fly over firewire, but not SDI?

    The reason I am asking is because we have just done yet another project in dv50 shot on the SDX900. I advised the DP to shoot 24pNormal (with 2:3 pulldown) intending to work in a true NTSC frame rate seeing as I didn’t think we’d be doing work in After Effects for this project. Everything looked beautiful until the client decided an a whole new look for the video causing me to render the whole project out of after effects and subsequently introducing some artifacting on the pulldown frames (I rendered out to 8BIt uncompressed, as the dv50 recompression started to soften the image too much for my liking). If I could get rid of the pulldown frames and work in true 24p I wouldn’t have this artifacting. All of this is relatively transparent to the client since they haven’t complained about the look, but discerning eyes might pick up on my little 3:2 pulldown debacle so I’m seeking a different workflow. WE don’t own a DV50 deck or camera (yet) so it’s hard for me to test this stuff on my own without spending too much cash. Any enlightened individuals out there playing with a similar workflow?

    Thanks much in advance for your input and help.


    G5 Dual 2Ghz <> 4GB RAM <> FCP 4.5 <> Kona 2

    ATTO 42XS <> Huge Systems 1.25 TB 4105 Fibre

  • Steve Covello

    August 27, 2005 at 2:33 pm

    Sorry I can’t answer the more important questions to your post since I still running 4.5. But I can say that the reason for the FW versus SDI capture for pulldown removal is because of the proprietary nature of the panasonic data stream.

    When the DV signal is recorded on tape with PDa, there is a flag that is included which can only be decoded via firewire, not SDI. Nor can the flag be read if you are using a DVCPro25 tape in a DVCam [Sony] deck, since Sony equipment can’t ‘see’ the PDa flags either, even if it’s a firewire hookup.

    So you will need to stay in the FW connectivity setup if you plan on offlining and onlining in 24 from a PDa source. Also, I have always been under the impression that you could choose whatver compression you wanted to work in independently of the means of digitizing or the format you were digitizing from. So as long as you stay FW, you should be able to go in any way you want as long as the card and deck are capable of doing so [i.e. trying to capture a 720 signal into 1080 — can’t say tihs would work since they are different formats — never tried it]

    steve covello
    double wide post

  • Oliver Peters

    August 27, 2005 at 7:52 pm

    No offense, but if you have a Kona2 card and the sources there, why don’t you simply try a short test? You’ll get the answer a lot faster.


    Oliver Peters
    Post-Production & Interactive Media
    Orlando, FL

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