yes, you're right - I meant to write 2:3 PD
The correct pulldown sequence is:
24FPS A1A2B1B2C1C2D1D2
30FPS A1A2B1B2B1C2C1D2D1D2
That's how Avid creates it, that's how SONY decks insert it. Any other variation - even if it looks identical to the naked eye - you're on your own.
May work just fine in your case, but definitely rejectable by QC.
BG
From: "bigfish@pacbell.net [Avid-L2]" <Avid-L2@yahoogroups.com>
To: Avid-L2@yahoogroups.com
Sent: Thursday, November 5, 2015 2:48 PM
Subject: Re: [Avid-L2] Best method of converting a 23.976 file and or Avid timeline to 29.97P file?
That's interesting given you say 3:2 pulldown which in this day and age is wrong. Today people want 2:3 pulldown right? Perhaps it was just a typo in your post. What I found it that it seems to create 3:2 pulldown that is consistant. I'm basing this on ama linking back to the file in a 59.94I 1080 project and stepping through the fields.
The encode seemed to properly translate the time code from 24 to 30 as the show first frame starts exactly at 1:00:00:00. It is however Non Drop Code. For analyzing the cadence this seems optimal. The file starts a 00:59:00:00 which matches the 23.976 time code start of the source file. Slate hits exactly 00:59:40:00 and program start at 1:00:00:00.
Looking at video at program start 1:00:00:00 I get AAABBCCCDD cadence which is consistent but as you say it is 3:2 not 2:3 like todays normal pulldown in a telecine world. Am I correctly remembering that in my youth the normal pull down was 3:2. I don't recall why we switched to 2:3 and when that switch occurred.
Bottom line is the file is certainly playable and pulldown removable for the production company. When I come up from air I will ask a few more questions about this whole workflow thing
I am liking the Adobe Media Encoder except for the backwards pulldown. I wonder if choosing lower instead of upper filed order would effect the cadence. Logic seems to indicate it wouldn't but logic seems backwards here anyway. I just don't see any reason why the pulldown insertion is backward and or not adjustable.
The encode seemed to properly translate the time code from 24 to 30 as the show first frame starts exactly at 1:00:00:00. It is however Non Drop Code. For analyzing the cadence this seems optimal. The file starts a 00:59:00:00 which matches the 23.976 time code start of the source file. Slate hits exactly 00:59:40:00 and program start at 1:00:00:00.
Looking at video at program start 1:00:00:00 I get AAABBCCCDD cadence which is consistent but as you say it is 3:2 not 2:3 like todays normal pulldown in a telecine world. Am I correctly remembering that in my youth the normal pull down was 3:2. I don't recall why we switched to 2:3 and when that switch occurred.
Bottom line is the file is certainly playable and pulldown removable for the production company. When I come up from air I will ask a few more questions about this whole workflow thing
I am liking the Adobe Media Encoder except for the backwards pulldown. I wonder if choosing lower instead of upper filed order would effect the cadence. Logic seems to indicate it wouldn't but logic seems backwards here anyway. I just don't see any reason why the pulldown insertion is backward and or not adjustable.
---In avid-l2@yahoogroups.com, <bogdan_grigorescu@...> wrote :
IIRC, Premiere/MediaEncoder pulls down with the wrong cadence(B-frame dominant).
Not sure if Adobe addressed it lately, but at the time(12-18mo. ago) it was enough reason to eliminate it as a possible tool for adding 3:2 pulldown.
BG
From: "bigfish@... [Avid-L2]" <Avid-L2@yahoogroups.com>
To: Avid-L2@yahoogroups.com
Sent: Thursday, November 5, 2015 12:49 PM
Subject: Re: [Avid-L2] Best method of converting a 23.976 file and or Avid timeline to 29.97P file?
Just want to add 2:3 pulldown to a 23.976 file to make a 59.94I. Now that you said that I recall in the past you suggestion a video mixdown in the 23.976 project cut into a new 59.94I timeline and letting Avid add pulldown that can be adjusted by promoting the motion effect if needed. It's coming back to me. I've got Adobe Media encoder cooking now so I will see how that goes.
IIRC when taking the 23.976 video mixdown over to the 59.94I project I had issues with the audio stems that were 23.976 when I went to export. I think I had to make audio mixdowns of each track while in the 59.94 project before I could export properly. That was back when I was still on 5.5.X so the direct audio output option wasn't available for export.
If the Adobe Media Encoder file works I'm done but I will have to check it for issues.
IIRC when taking the 23.976 video mixdown over to the 59.94I project I had issues with the audio stems that were 23.976 when I went to export. I think I had to make audio mixdowns of each track while in the 59.94 project before I could export properly. That was back when I was still on 5.5.X so the direct audio output option wasn't available for export.
If the Adobe Media Encoder file works I'm done but I will have to check it for issues.
---In avid-l2@yahoogroups.com, <cutandcover@...> wrote :
proper 2:3 pulldown = 29.97 interlaced
duplicate frame pulldown = 29.97 progressiveOn Thu, Nov 5, 2015 at 2:19 PM, bigfish@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:I do just want to add pull down. I'm baking a file to .mxf Avid DNX but the audio choices for tracks are several but they jump from 10 to 14. Am I missing a preset option. I really just want to take the .mov DNX 175X with 12 discrete channels of audio and make a dupe adding pulldown and keeping the 12 tracks of audio. I didn't see a preset for .mov. Again am I missing something. I've never used Adobe Media Encoder before so no suggestion is too simplistic for me.
__._,_.___
Posted by: Bogdan Grigorescu <bogdan_grigorescu@yahoo.com>
| Reply via web post | • | Reply to sender | • | Reply to group | • | Start a New Topic | • | Messages in this topic (10) |
this is the Avid-L2
.
__,_._,___
No comments:
Post a Comment