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Working with 2:3:3:2 Pull-Down
Some camcorders, such as the Panasonic AG-DVX100, are designed to shoot in progressive
mode at 24 fps (actually 23.98 fps) and then record the video to a tape as a 60-field
interlaced signal by applying 2:3:3:2 pull-down to it. The 2:3:3:2 pull-down is similar in
concept to 3:2 pull-down but has a different pattern of field repetition, as illustrated
below.
A BA B B CC C D DA A B B B C C C D D A A B B B C C C D D A A B B C C C D D A A B BB CC C D D A BA B B CC C DB D
A B C D A D A B C D A B C D A B C D A B C D
B C
A B C D
A A B B B C C C D D
Field
1
Field
2
Field
1
Field
2
Field
1
Field
2
Field
1
Field
2
Field
1
Field
2
Before (23.98 fps)
2:3:3:2 Pull-Down
After (29.97 fps)
One second
There are some advantages to shooting with, and then removing, 2:3:3:2 pull-down
instead of working with 3:2 pull-down:
• Final Cut Pro can easily remove the 2:3:3:2 pull-down while you are capturing, so that
you can edit 24 fps (actually 23.98 fps) progressive video.
218 Chapter 13 Working with 24p Video and 24 fps EDLs
- Cinema Tools 4 1
- Contents 3
- 4 Contents 4
- 5Contents 5
- Solving Problems245Appendix C 6
- 249Glossary 6
- Welcome to Cinema Tools 7
- Additional Resources 8
- An Overview of Using 9
- Cinema Tools 9
- What Cinema Tools Does 10
- Why 24p Video? 12
- Working with 24p Sources 13
- Offline and Online Editing 13
- How the Database Works 14
- Importing Telecine Logs 15
- About Compression 17
- Capturing Tactics 18
- Reverse Telecine 19
- Before You Shoot Your Film 24
- Which Film to Use? 24
- Transferring Film to Video 25
- How Much Should You Transfer? 27
- Frame Rate Basics 28
- Working with NTSC Video 29
- What’s an A Frame? 30
- Working with PAL Video 30
- Working with 24p Video 31
- Timecode Considerations 32
- NTSC video frames (29.97 fps) 33
- One second 33
- Clip start 33
- Discarded fields 33
- Audio Considerations 34
- Mixing the Final Audio 35
- Working in Final Cut Pro 38
- Using Effects 39
- Cinema Tools Workflows 41
- Film Workflow Examples 42
- Working with REDCODE Media 51
- Take 1 Take 2 Take 3 54
- Noncontinuous? 56
- Working with Databases 65
- Viewing Database Properties 66
- About the Detail View Window 66
- Field for take notes 68
- Field for telecine 68
- Previous Record and 68
- Next Record buttons 68
- About the List View Window 73
- Settings in the Find Dialog 77
- Settings in the Clip Window 81
- Click the Analysis 84
- Information 85
- Assigning Camera Letters 87
- Deleting a Database Record 98
- Choose the type 100
- Enter the old 100
- Capturing Source Clips and 105
- Avoiding Dropped Frames 106
- What Is Device Control? 107
- In the List View window 112
- Using XML Batch Capture Lists 113
- This button changes 119
- Reconnecting Individual Clips 120
- Using the Conform Feature 125
- A A B B C C D D 128
- What Is Field Dominance? 130
- About A Frames 130
- Choose a frame rate 134
- Leave this checkbox 134
- Using Batch Reverse Telecine 136
- Select the field capture 137
- Deleting a Source Clip File 142
- Editing with Final Cut Pro 143
- About the Timecode 145
- About the Sequence Presets 145
- About Interpositives 155
- Choosing the List Format 160
- Lists You Can Export 161
- Missing Elements List 162
- Resolving Missing Elements 163
- Optical List 164
- Pull List 166
- Scene List 166
- Optical Scene List 166
- Exporting the Film Lists 166
- Creating Change Lists 174
- About Exporting Change Lists 178
- If You Need to Reel Balance 184
- Settings available 188
- Working with XSL Style Sheets 189
- Pull List Style Sheet Example 190
- Export Considerations and 193
- Creating Audio EDLs 193
- OMF Files 194
- Exporting an Audio EDL 195
- Audio Track Usage 199
- Working with ALE Files 206
- Importing an ALE File 207
- Exporting an ALE File 208
- What Is Downconverted Video? 211
- Understanding Aspect Ratios 216
- What Is 2:3:2:3 Pull-Down? 217
- A A B B B C C C D D 218
- A BA B B CC C D D 219
- Choose a frame rate from 220
- A A B B B C C D D D 225
- A A B B C C D D D D 226
- Film Background Basics 229
- Perforations 230
- Film Edge Code 231
- Offset 1 232
- Offset 2 232
- Offset 3 232
- How Cinema Tools Creates Film 241
- About the Clip-Based Method 242
- Solving Problems 245
- Contacting AppleCare Support 247
- Glossary 249
- 250 Glossary 250
- 251Glossary 251
- 252 Glossary 252
- 253Glossary 253
- 254 Glossary 254
- 255Glossary 255
- 256 Glossary 256
- 257Glossary 257
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