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Forums Apple Final Cut Pro Legacy Questions about DV50 advanced pull down removal & Kona2 FCP 5.02

  • Questions about DV50 advanced pull down removal & Kona2 FCP 5.02

  • Jeremy Garchow

    August 26, 2005 at 7:13 pm

    Cross posted in aja kona 2 forum, but no responses…

    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 for my kona 2 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 firewire 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 not possible, 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 expect the same results as if I was coming in over firewire? 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.

    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 out of after effects 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 on a rental. 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

  • gary adcock

    August 27, 2005 at 1:50 pm

    [JeremyG] “What is it that makes adv. pulldown removal on the fly over firewire, but not SDI?”

    thats due to the implementation of the RP188 Timecode in FCP was not able to be viewed over anything but FW when it was introduced, no manufacturer was ready to actively see the flags over the standard TC protocols when this was first announced.

    I don’t work in DV50 so I cannot answer any of the other questions, But I do know that AJA does now support accessing the Userbit info in the K2 control panel. Why not take a look at the inbound SDI video stream to see if the K2 is actually seeing the 24pA frame rate- the control panel will let you know if it sees it.

    gary adcock
    HD and Film Consultation

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