Removing pulldown from 1080/24 footage.

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daniel.v

Member
My cinematographer shot some stuff but forgot to put the camera in the 1080/24A mode, and now I'm stuck with some footage that has interlacing artifacts and such on FCP.

This footage was already recorded on mov. on a Firestore, so FCP didn't remove the pulldown during the Log and Transfer.

How do I remove it now? I've looked everywhere on the net and I was pretty shocked not to find an easy answer.

Please help! :embarasse
 
How exactly do I do that Barry?

I'm sure you must've answered this question a million times but I honestly couldn't find an answer online or figure it out myself.

I'm using FCP 7 and I'm trying to use Tools > Remove Advanced Pulldown

It gives me the message: File does not contain DVCPRO, DVCPRO-HD or DVCPRO-50 NTSC video.

The footage was shot NTSC 108024p on an HPX170.
 
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I don't use Macs or FCP, so I was certainly hoping that one of the Mac users would have come on here in the last couple of months and answered your question for you.

From what I understand there is a separate application called "Cinema Tools" that can remove 2:3 pulldown. You do not have "advanced" pulldown (that's in 1080/24pA footage) so you use Cinema Tools to remove 2:3 pulldown.

And never, ever, ever shoot in 1080/24p mode again, always and forever use 1080/24pA.
 
It's for footage that's going to be edited on a 60i timeline.

24pA is for footage that will be edited on a 24p timeline.
 
Just out curiousity, why is there even the reg. 24p mode on the camera when the Advanced mode is on there?
Click to expand...

Use 24p if you want to mix frame rates in post & edit it in 29.97 timeline or you have a choice to remove the pulldown and edit it in true 24p.

In 24pa, technically you can't mix it in any frame rates, shooting 24pa also gives you smaller file size.
...and alot more explanation.

Just correct me if I'm wrong. :)
 
Try using EXPORT >QUICKTIME>PRORES 24p ( as the option under the pull down menu) --- you will need to put the clip into the timeline first to do it maybe--- I tried CINEMATOOLS and got artifacts all over the place going this route seemed to work. Since I planned to convert everything to prores anyway it's a pretty good solution. Smooth motion blur no interlacing lines. ** Be sure when you import it into FCP you uncheck the remove advanced pulldown from the preferences in LOG AND TRANSFER.
Hope this helps anyone else who has this issue
 
Isn't there any way to avoid the Cinema Tools route? I don't have time to babysit this entire process.

When I see the footage in the Log and Transfer window for example, it plays smoothly and without any interlacing artifacts.

After I've already logged it, dropped the clip on a timeline (and allow Final Cut to choose the settings) everything looks interfaced and I keep getting dropped frames, I can't even edit like this because I can't watch the footage in real time.

I never got any of this when editing 24pA footage.

Isn't there a proper way to log the footage or to set up the timeline without having to export the video?

How does everyone use 1080i 24p when apparently it's such a broken workflow in FCP?

Please help!

BTW, I'm using FCP 7
 
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Apparently putting the clips in a 1080 60i timeline with upper field dominance "removes" the interlaced artifacts in playback.

But it still remains really really heavy, I can't barely play the clips without getting dropped frames.

I rarely got this with 24pA clips.

The Reverse Telecine option in Tools decreases the video quality?

What I really want is to just be able to play the smoothly play timeline without seeing the interlaced artifacts. If I want to remove the pulldown and such, I'll do it once I finish the editing.
 
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Woah. I can help. I don't know what all these steps everyone is talking about. I am in the same nightmare with my project. Now here's the thing. I had to reverse telecine my footage that was shot on my DVX100A at 24p. Here's how I did it, the same method should apply to you. (I am pretty sure) The steps are simpler than everyone is stating. Here it goes:

First off you have to make sure you have the correct cadence before doing a reverse telecine. This should be on the :00 or :05 frame. It can be on either so it doesn't matter which. The way to check this is to just park on a zero frame and step foward to the :02 and :03 frames and you will see frame interlacing. That's just the way you can check. Now the good thing (correct me if I am wrong anyone) is that the HPX and HVX will start recording on a :00 frame so you are probably good because the cadence will probably always be correct.

Now here's how you do it.
1. Take the footage that you've already imported into final cut and copy that footage into another drive and folder. This is important because reverse telecine will actually change the original imported file you are working with. Make a copy so that if anything went wrong you can go back to the original imported file if needed.

2. after you have created a copy of the media open it in a bin in Final cut pro. You might want to name a folder in final cut Reverse telecine media or make a folder for your old footage.

3. In the bin set your bin heading to display the frame rate and media start. This is just so you can check before stats before you do this and after this does the reverse telecine you can see these stats change realtime after it has finished that way you know. Double check that the media start for all footage starts at either :00 or :05. So for example a clip TC might be 01:15:20:00 NOT 01:15:20:01. If it is :01 you will have to take another step which I will explain in a youtube tutorial I will post up tomorrow.

4. select the clips you wish to reverse telecine and go up to the - Tools - Menu in FCP and go to - Cinema Tool Reverse Telecine. After you select this it will begin the Reverse telecine to the clips. Now just so you know this will use cinema tools but it does it in the background. It kinda nice because you can use FCP to do this without directly opening cinema tools to do all this.

5. after it is done you will see that the bin heading have changed. It will say the frame rate 23.98 and the media starts will have changed. Load the clips and step through them. The interlacing on frames :02 and :03 should have disappeared. Oh by the way, the only way to see interlacing on a clip is if it is at 100 percent size in the viewer in Final cut or if you are checking with an external monitor.

As for quality this is the same quality as exporting a FCP quicktime (like making an exact copy so there should be no loss) You might see an artifact (very very minor to the eye) but this is only from the pixels that were separated from the reverse telecine. But they were technically there to begin with.

I know this is a crazy process and it took me some searching to find clear answers. I will try to help all by posting a youtube tutorial. If there are any corrections to be made feel free to let me know or PM me. Good luck my friend. Peace.
 
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