in-camera 3:2 Pull down & transfer to film? at DVinfo.net

October 4th, 2002, 06:26 PM

Okay, there's something I'm not getting...

If the 24p signal is captured and converted to an NTSC signal for recording and playback using the "in-camera 3:2 pulldown process" as the Panasonic site states, how will this affect an eventual transfer to film, if at all? Seems like some post work would have to be done to "undo" the pulldown before going to film.

Is there something I'm missing about this "in-camera 3:2 pulldown"?

Frank Granovski · October 5th, 2002, 12:46 AM

I'm a bit puzzled myself. Is it only converted via AV and S-video out? Or does the info stay intact via firewire out? Terrence, you're the expert. Can you explain this to us? Thanks.

Stephen van Vuuren · October 5th, 2002, 10:32 AM

Check Terrence's page for detail info, but yes the 3:2 pulldown and 2:3:3:2 pulldown are on all outputs.

Download the clips on the web to verify, but many users have already confirmed this.

Of course, firewire is the only method to consider using for film output.

October 7th, 2002, 01:43 PM

If you are planning a film output, using the 24p "Standard" mode would not be advised. This mode applies the standard 3:2 pulldown which means you cannot go back to 24p without some form of recompression. This would both degrade your resolution to a certain degree but also might introduce some interlace artifacts where none need to exist.

The solution is to shoot in 24p "Advanced" mode which applies a 2:3:3:2 pulldown. With this method only the fifth frame is an interlaced frame the rest are full progressive frames. With the right software you can remove this pulldown easily and get back to native 24p without recompression, or damage to your true progressive images. This means you'll need to have a NLE capable of 24p editing (I'm going to be working on a FAQ for this soon) but you'll have your original unaltered 24 progressive frames a second for best transfer to film.

Vinson Watson · October 7th, 2002, 11:53 PM

Hey aaron, good to see you.

-Vinson

October 4th, 2002, 06:26 PM	#1
steve1271 Posts: n/a	in-camera 3:2 Pull down & transfer to film? Okay, there's something I'm not getting... If the 24p signal is captured and converted to an NTSC signal for recording and playback using the "in-camera 3:2 pulldown process" as the Panasonic site states, how will this affect an eventual transfer to film, if at all? Seems like some post work would have to be done to "undo" the pulldown before going to film. Is there something I'm missing about this "in-camera 3:2 pulldown"?

October 5th, 2002, 10:32 AM	#3
Stephen van Vuuren Space Hipster Join Date: Oct 2001 Location: Greensboro, NC Posts: 1,508	Check Terrence's page for detail info, but yes the 3:2 pulldown and 2:3:3:2 pulldown are on all outputs. Download the clips on the web to verify, but many users have already confirmed this. Of course, firewire is the only method to consider using for film output. __________________ stephen v2 www.insaturnsrings.com

October 5th, 2002, 12:46 AM	#2
Frank Granovski Outer Circle Join Date: May 2002 Location: Hope, BC Posts: 7,524	I'm a bit puzzled myself. Is it only converted via AV and S-video out? Or does the info stay intact via firewire out? Terrence, you're the expert. Can you explain this to us? Thanks.

October 7th, 2002, 01:43 PM	#4
aaronscool Posts: n/a	If you are planning a film output, using the 24p "Standard" mode would not be advised. This mode applies the standard 3:2 pulldown which means you cannot go back to 24p without some form of recompression. This would both degrade your resolution to a certain degree but also might introduce some interlace artifacts where none need to exist. The solution is to shoot in 24p "Advanced" mode which applies a 2:3:3:2 pulldown. With this method only the fifth frame is an interlaced frame the rest are full progressive frames. With the right software you can remove this pulldown easily and get back to native 24p without recompression, or damage to your true progressive images. This means you'll need to have a NLE capable of 24p editing (I'm going to be working on a FAQ for this soon) but you'll have your original unaltered 24 progressive frames a second for best transfer to film.

October 7th, 2002, 11:53 PM	#5
Vinson Watson Regular Crew Join Date: Sep 2002 Location: Chicago Posts: 79	Hey aaron, good to see you. -Vinson