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Forums Compression Techniques What is the “correct way” to do 3:2 pulldown in compressor

  • What is the “correct way” to do 3:2 pulldown in compressor

  • James Vincent

    March 7, 2013 at 12:27 am

    Ok I have been searching for a couple hrs and it seems like everyone has their own way using compressor to do the 3:2 pulldown. now my show is being put on national tv and they need the basic 1080i 29.97 (59.94)

    now past HD shows have been shot on dvcpro hd and for digital delivery we give them dvcprohd 1080i60 29.97 with a Upper field dominance. And this show is using sony cameras shooting 1080p 23.98

    what i am getting at here is is there an absolute right way to do the 3:2 pulldown in compressor (going from progressive 23.98 to interlaced 29.97) for delivery

    the main ones i have heard are:

    1. put your setting on, click video, change 23..98 to 29.97 add interlace to bottom fields. then go to frame controls and set output fields to bottom.

    2. I have heard that also but using top fields instead of bottom

    3. Just doing it in the frame controls in compressor

    4. Just doing it on the video controls in compressor

    Now there can not be 4 ways to do it right , maybe 3 ways to do it ok and 1 way to do it perfect.

    My question is what is the correct way to go?




    40tb Xsan

  • Mark Spano

    March 7, 2013 at 10:16 pm

    You are correct in that there is ONE way to do this in Compressor, and all other ways are wrong. This is the right way.

    In the Encoding tab, under Video, choose your intended codec as the compression type.
    Choose 29.97 fps.
    If there is a checkbox for Interlaced, check it, and choose Top Field First.

    In the Frame Controls tab, set as follows:
    Frame Controls ON (uncheck the gear icon)
    Resize: Fast
    Output Fields: Top first
    Deinterlace: Fast
    Retiming: Fast

    Save this preset and apply it to your 23.98 file. It will add the 2:3 pulldown cadence, giving you a perfect 29.97 fps interlaced file.

    Oh, and check your work! Play the 29.97 fps file out to a broadcast monitor and enjoy the pulldown.

  • James Vincent

    March 8, 2013 at 2:36 am

    great thanks Mark yeah that does sound right to me. I just hate failing QC. Here is a question you could probably answer. When it comes to the chyrons, text, credits, etc. Do you build all of those in your 23.98 progressive sequence or do you wait and spit out a textless version of your 29.97 locked sequence then add the text elements? I ask this because we have failed qc on text elements having the wrong field by accident.


    40tb Xsan

  • Mark Spano

    March 8, 2013 at 4:46 am

    If you can, and you don’t mind the reduced temporal resolution, build all that stuff at 23.98p. Keep everything 23.98p until the end and add pulldown last. The only times that that is not doable are when either you or your network has existing 29.97i graphic/text elements that would suffer if converted to 23.98p, or when you’re building some animation or animated text roll that looks bad in 24 frames per second but looks better in 60 fields per second. Then I’d do as much as you can in 23.98p, add pulldown, bring that into a 29.97i cut and add in the rest.

  • James Vincent

    March 8, 2013 at 8:15 pm

    yeah i just did some tests now our old shows have a basic title scroll from fcp in their 1080i 29.97 (59.94) timeline and the scroll is super smooth. when i added the text into the 23.98 progressive sequence and did the pulldown the text looks ok but not nearly as smooth. when i frame step in it appears its doing a basic pulldown and interlacing every 4th frame or so does this mean every text element will have to be brought into the 29.97 sequence after the video has been done i hate doing double exports?


    40tb Xsan

  • Mark Spano

    March 8, 2013 at 8:46 pm

    If you want your scroll to be 60 field smooth (as opposed to 24 frame stuttery) then yes, do as much as you can in the 24p cut, then export, add pulldown, bring that into a 29.97i cut and compose your scroll there. You will see the results – maintaining high quality when working with multiple frame rate sources and materials is a little bit of hard work, but the efforts pay off.

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