Working with 2:3:3:2 pull-down, Working with 2:3:3:2, Pull-down – Apple Cinema Tools 4 User Manual
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Working with 2:3:3:2 Pull-Down
Some camcorders, such as the Panasonic AG-DVX100, are designed to shoot in progressive
mode at 24 fps (actually 23.98 fps) and then record the video to a tape as a 60-field
interlaced signal by applying 2:3:3:2 pull-down to it. The 2:3:3:2 pull-down is similar in
concept to 3:2 pull-down but has a different pattern of field repetition, as illustrated
below.
A
B
A
B B
C
C
C D D
A A B B B C C C D D A A B B B C C C D D A A B B
C C C D D A A B
B
B
C
C
C D D A
B
A
B B
C
C
C D
B
D
A B C D A
D A B C D A B C D A B C D A B C D
B C
A B C D
A A B B B C C C D D
Field
1
Field
2
Field
1
Field
2
Field
1
Field
2
Field
1
Field
2
Field
1
Field
2
Before (23.98 fps)
2:3:3:2 Pull-Down
After (29.97 fps)
One second
There are some advantages to shooting with, and then removing, 2:3:3:2 pull-down
instead of working with 3:2 pull-down:
• Final Cut Pro can easily remove the 2:3:3:2 pull-down while you are capturing, so that
you can edit 24 fps (actually 23.98 fps) progressive video.
218
Chapter 13
Working with 24p Video and 24 fps EDLs