Purpose of Effect of 3:2 Pulldown
The 3:2 pulldown on the Naoflash. Is that used when recording in 60i? What does it exactly do to improve the quality of 60i recording? When importing into Adobe PPCS5 what would be the appropriate preset? Would you still use 60i, eventhough the 3:2 pulldown is checked on the Nano? Thanks Roman
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Dear Roman,
If you have a camera that does 24p, it may send out the new frames with a certain number of duplicated frames to create what appears to be 1080i60. The duplicated frames are "Pulldown Frames". The process of adding these duplicated frames is called "adding 3:2 Pulldown" as far as I know. Now, if you want of extract the original frames from the "original frames plus the pulldown frames" (the duplicated frames), the nanoFlash will do this for you. All you need to do is to enable Video|Remove 3:2 Pulldown. This instructs the nanoFlash to only record the "new" frames. Once you do this you have 1080p24, thus you would use the appropriate preset in Adobe CS5 or any other Non-Linear Editor. |
The Wonder of Nano/XDR Realtime 3:2 Pull Down
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Many folks commonly consider 23.976p, or as some devices and softwares will round the 23.976p to 23.98p, as being the same as standard 24p - It's definitely NOT ! Some NLE's will stipulate using a different project fps preset between 23.976p, 23.98p, and 24p. Avid Media Composer is one, even though you *can* mix multiple frame rate clips in one project. Confusing eh ? I know I was. I had to test everything in order to figure out what the heck was going on with these different designations. Point in fact; Manufacturers have begun referring to cameras and recorder who can capture in regular 24p and "True 24p" |
Dear Mark,
I was using the generic 1080p24 term for 1080p23.976. Many camera's and many people refer to 1080p23.976 as 1080p24, including Canon and Sony. I use the term 1080p24 (True) when referring to true 1080p24 as opposed to the much more common 1080p23.976. |
Confusing
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@ Mark
Hi Mark,
All you need to remember is that "film" is 24fps! 23.976 (for digital film) it's a drop frame of 24fps , just as/like 29.97fps is a drop frame of 30fps for TV and that is only in the NTSC world. Cheers |
Dear Mark,
I answered Roman's questions using the terminology that he used. He refered to 1080i60 as opposed to 1080i59.94. Many people refer to 1080i59.94 as 1080i60 as it is much easier to say and write. So, I referred to 1080p24 as opposed to the more technically correct 1080p23.976. Your XL H1 uses 24F terminology, but it is actually 23.976. The nanoFlash supports the folllowing actual (technically correct) frame rates of 23.976, 24, 25, 29.97, 30, all progressive. And, of course, the nanoFlash supports the interlaced frame rates. Panasonic refers to 23.976 as 23.98. In some cases, it is appropriate to use actual (technically correct) 1080p24. As noted above, the nanoFlash supports this "true" format. |
Not Accurate Enough a Definition
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I can see your frustration here, but, actually the things are not that bad at all. Film is and always will be 24FPS. Avid has option for 24fps, 23.976fps, 29.97fps, 30fps and so on different kind of projects. You choose 24fps only when you are editing real film. Anything shot in North America digitally that refer to 24p is 23.976fps. AVID call that 23.98fps, some call it 23.97, but it is only 23.976 and that is true 24p in North American terms because of TV frequency standards. Hope that helps. Cheers ;-) |
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Dear Adam,
Thanks. Another way to show it is 24 / 1.001 = 23.976 |
Good Math ! :-)
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Dear Mark,
60 / 1.001 = 59.94 30 / 1.001 = 29.97 24 / 1.001 = 23.976 |
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(1) They continued airing the B&W signal and added the color difference (as is still done in many digital codes, such as the various MPEG standards). (2) They slowed down the fps by 1.001, so it became 30000/1001 in North America and 25000/1001 in Europe. They did that so they could fit all the additional color information into the existing bandwidth. We are still stuck with this anomaly because when we switched to all digital TV, they still wanted to stay compatible with all the analog TV sets (with just a converter box added) that people owned or perhaps still do. I can only hope that we will eventually abandon this anomaly and go to true 24/30/25 fps in the digital world. The way we are doing it is a pain for those of us who write video editing software because sound continues to use Hz, or cycles per second, so keeping everything synchronized when you trim clips and move them around requires you to be aware of the different timing. It is not too difficult with the 24/1.001 video fps as you can think of 48 kHz as 48048 cycles per 1.01 second, so you have exactly 2002 sound samples per 24/1.001 fps video frame. But it does not workout as neatly with the 30/1.001 fps video where you have exactly 8008 sound samples per 5 video frames. And it gets even more complicated with 25/1.001 fps, where you are perfectly synchronized only once every 25 frames. That is another good reason to shoot at 24/1.001 fps as opposed to 30/1.001 or 25/1.001 fps. |
Dear Adam,
As far as I know, 25 is true in the digital world, as 50i is also true. |
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