C100: Canon C100 Pulldown

C

Countzer0

Member
Hi All,

Just a quick question. I have a C100 and have a Ninja 2 arriving today. The C100 is outputting at 25 PF and the Ninja 2 will be accepting a 25 p signal. What I am not clear about is if I need to change the pulldown to 3:2 or 2:2 or even if I need to change it at all?

Any advice would be greatly appreciated.

Cheers all
 
I'll respond with what I have heard (I don't own a Ninja2). I have read that the Ninja2 does the pulldown automatically as it records. I have had no problems turning PF to P using Media Browser in Premiere CS6 for my imports and setting footage interpretation for progressive...no Ninja2 involved.
 
Thanks for that mhood. I have examined the footage from the internal card and compared it to the ProRes 422 recorded simultaneously, and to be completely honest there is to my eye hardly any difference at all.
 
Countzer0 said:
The C100 is outputting at 25 PF and the Ninja 2 will be accepting a 25 p signal. What I am not clear about is if I need to change the pulldown to 3:2 or 2:2 or even if I need to change it at al
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PAL doesn't need pull-down - pull-down is for our dear friends across the pond with their NTSC stuff trying to shoe-horn 24 frames per second into a 29.97 frames per second medium - you cannot make this stuff up, but hats off to them, brilliant solution.

But... We... Don't... Do... That... We're PALs.

But PSF vs P - that is our beef. Yes, most C100 footage, shot progressive, is perceived by most NLEs as interlaced. Your job is to ensure that you strip your footage of its interlaced badge. That's done in the editor, not the camera.

Just don't shoot interlaced! Shoot PSF or PF or whatever, then ensure the editor switches your footage to true progressive and all will be well.

Oh yes, and +1 for the general consensus that a Ninja's picture doesn't look noticeably different than the (jolly good) AVCHD internal recording... Except for these important qualifiers:

- Headshots? Internal's fine.
- 'Film-school' inspired B-Roll? Internal's fine.
- Talking head chromakey? Yaknow, internal can work out just fine with a good keyer.

- Action shots and wobblecam? You're now beginning to stress the internal encoder.
- Big wide shots of nature waving sticky things and flowing watery stuff? You've stressed the internal encocer.
- Rich, intense colours in detailed areas like fabrics? You are seriously close to getting mush from 4:2:0
- Intense, vivid colours with high contrast - such as stage lighting? You'll blow 4:2:0 and it will look like it was shot with a cheese grater

So, not the most scientific of expositions, but whilst I'd like to be glib and quote the 80/20 rule, it's more like the 95/5 rule. 95% of the time, you'll not witness a technical difference.

Finally, I'll add this: there's times when shooting to ProRes LT on a spinning drive is a very nice thing - long form records like presentations and conferences. Hit stop, pop the drive out of the Ninja, start editing. Simples.
 
Finally, I'll add this: there's times when shooting to ProRes LT on a spinning drive is a very nice thing - long form records like presentations and conferences. Hit stop, pop the drive out of the Ninja, start editing. Simples.
Click to expand...

I couldn't agree more. That's the main reason we use the Ninja. We use media composer which can read the C100 files natively but it can introduce a slight pause when you hit play or stop due to the heavy compression on these files. Transcoding native C100 files takes quite a bit of time. Capturing native DnxHD is a major time saver for us and while I too don't really notice a substantial difference visually in the files I like knowing that I'm at least capturing 4.2.2.
 
So if using the original Ninja to record and you end up with a 60i file, you can easily remove the pulldown using media browser in premiere cs6? I am currently on Cs5.5 and see no such functionality.
 
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