telecine pulldowns

radar71 · December 5, 2004

I'm shooting a music video on a Kras-3 super 16 with Tobin sync motor. Let's imagine that it's going to work fine.

how should i treat the telecine? I would like to end up with quicktime uncompressed 8 or 10 bit files that synch up to the song in the end.

what is a 3:2 pulldown for?

Preston Herrick · December 6, 2004

I'm shooting a music video on a Kras-3 super 16 with Tobin sync motor. Let's imagine that it's going to work fine.

how should i treat the telecine? I would like to end up with quicktime uncompressed 8 or 10 bit files that synch up to the song in the end.

what is a 3:2 pulldown for?

<{POST_SNAPBACK}>

In a nutshell, you'll be shooting film at 24fps (unless you chose to shoot at 30 but you would be consuming 25% more film) and television is 29.97fps (at least in NTSC-land). We'll just call it 30fps for the sake of explanation. Each frame of TV is made up of two fields which are interlaced. So, essentially you have 60 individual pictures that make up a second of TV or video. 3:2 pulldown is a method of creating the extra frames necessary to convert your 24fps film rate to 30fps television rate. What it does is, it periodically takes fields from adjoining frames to create the 6 "missing" frames necessary to end up with 30fps. Introducing 3:2 pulldown in telecine is generally a requirement to go to tape.

Your budget and plans for post production will determine what format you will telecine to but I'm guessing you'll go to BetaSP or some lower end digital format then capture in your NLE in whatever flavor you prefer. Telecine to a higher end digital format would be best but might not be in the cards.