23.98 fps advanced pulldown removel with lower field dominance??

When ever I have captured 24p advanced material shot on a DVX100B, I have always used Final Cut Pro 5's advanced pulldown removel easy set up (2:3:3:2). I haven't run into any issues until now. When I try to capture 24p advanced material, for some reason Final Cut sets my field dominance as lower (even). I made sure I was using the capture pre-set for advanced pulldown removel (23.98) and I was. Is there any way to fix this? I tried trashing my preferences but that didn't help. This is progressive scan material so in the past Final Cut Pro has always set it to field dominance as "none". Also, because my 24pa material is having a lower field dominance and as 29.97fps, I have to render in my 24pa sequence which I have never had to do. Any suggestions would be greatly appreciated.
PS: I'm using OSX 10.4.8 (the OS choice drop down menu hasn't been updated)
Update: I tried capturing a short clip (about 30 seconds) and it worked fine, but when I try capturing my clip, which is about 10 mins, I get it capured at 29.97 with lower field dominance.

Anyone ?

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Progressive Field Dominance vs Lower Field Dominance

I am putting a project together in FCP 5.1.4 Most assets are NTSC QT clips with lower field dominance. I have some PAL assets with Progressive field dominance. I am using a slow-PAL conversion method outlined here:
http://www.macworld.com/article/49306/2006/02/marchcreat.html
I just want to make sure my workflow is appropriate.
If I use Cinema Tools to convert frame rate to 23.98 and then Compressor to change aspect ratio, and finally FCP to add frames back in to arrive at 29.97 NTSC . . .
DO I NEED TO change the progressive field dominance to lower field dominance at ay point?
I will ultimately be outputting to DVD which may be viewed on either computer or video monitor.

From my rudimentary knowledge I believe that as opposed to upper or lower field dominance, the source asset was recorded as "progressive scan", which I assume means NO field dominance.
What I do not understand is, if I import assets into a FCP sequence that has a lower field dominance, then what happens to these assets in the timeline when I export them out of FCP to either mpeg2 for inclusion in a DVDStudioPro. Or as a compressed quicktime for a streaming video on the web.
I am concerned that progressive scan assets mixed with lower field dominance may cause weird interlacing artifacts when I ultimately playback the end project.
Don't know whether I'm overthinking this, but want to avoid hours of work in the wrong direction.
Help?

Field order on DVD Video disk projects - cannot output ".VOB" with upper field first,,

Can anyone help ? - in Australia most DVD players (PAL) display the best video image in terms of picture quality and motion smoothness when the "VOB" files created on the DVD Video disk (for PAL), are Upper field first. I can only get "VOB" files with Lower field first from Premiere Elements 9.0.
I have spent many hours experimenting, and then 90 minutes talking to Adobe support who were very helpful - but unable to resolve the issue.
My Premiere Elements 9.0 has been updated to 9.0.1, but I am still unable to obtain VOB's with Upper field first. The resultant DVD's are not easy to watch.
(MPEG files can be created with Upper field first from the "Advanced" button - but there is no Advanced button on the Blu Ray/DVD option in the "Share" tab.)
Thanking you, Dave.

Hi Steve, Yes - the output VOB's are lower field first, this can be observed
as "fuzzy" picures when playing the resultant DVD on a DVD player - the
motion is slightly jerky as well making for a video that is rather hard to
watch for too long - like trying to read without glasses (if you need them).
The input files are 720x576 16:9 PAL - Upper field first.
I have verified that the output VOB's are lower field first, using other PC
based video players and viewing the "properties" of the file.
Also, after spending about 90 minutes on the phone to Adobe support, and
exhausting all possible variations of project settings with them - they
confirmed the VOB's are output as lower field first in PAL format and were
of the opinion that one could not output PAL Upper field first VOB's using
Premiere Elements 9.0/9.0.1.,
This is rather disappointing as from what I understand the Australian
standard is PAL Upper field first (720x576) 25fps. They suggested that I put
in a submission to the "Wish List", which I have done - no response yet.
Thanks, Dave.

Totally confused about mixing videos with different field orders.

I have PPcs5 on the pc.
I edit for many different shooters. As such I get everything: Progressive, upper field , lower field . Not to mention from a zillion different cameras & different resolutions.
I output 95% so far to dvd ntsc, 5% BR.
I get dv tapes on some & HD files also.Many times I get a mixure of both on each job. Also Iphone HD files too. Going crazy trying to fiquer out how to set up my sequence when I have upper field or progressive by themselves & also when they are mixed with lower field dv foot...Do I force everything into a lower field seq if going to dvd?
Do I have to deinterlace anything?
If I drag a clip to the new "create seq" icon, it will match the clips properties but is that correct if its a progressive only project or an Upper field project going out to dvd ntsc?
Do I need to RT click on the clips in the project window & "interpet Footage" & force it into a lower field there 1st? Is there a difference between setting up a seq to be played on a progressive DVD player hdmi to a prog TV as apposed to setting up a seq for a non hdmi or non progressive tv?
Does outputting to dvd automatically force it to lower field ?
If my seq isnt set up correctly I notice a big interlace problem when the cams pan from side to side, especially when there are multiple cams with different field orders. Have been unable to find any good discussions or articles on the topic.
How do you guys do it without going crazzzzzzzy?Are there rules? What are the rules? A rule book would really help:-) I Yern for the old DVCAM/DV days:-)

DV is always lower and HD is upper or progressive.
As you are having all fields in one timeline i would make it progressive.
Premiere does a good job in deinterlacing.
Only use Interprete footage when the footage is interprete wrong.
Set up a progressive timeline and drop everything in it. If a clip does not behave correctly you can change fields in the Field Options.
Export from Premiere and import into Encore. That is what i would do......

ADVANCED PULLDOWN REMOVAL - Problem with 60 Hours of Material

After I capture about 60 hours of material and worked for the past 3 months in a 90 minutes documentary I realized that the material was shoot in 24P advanced and was not captured in advanced pulldown removal mode! What should I do now? Should I do an online of the 90 min sequence with advance pulldown removal? What should I expect to happen? Thanks a lot in advance for your help.

I am delivering an EDL to do an online in HD for later on blow it up to 35mm. I just don't want to fix problems in the online because it'll take time therefore MONEY. I was thinking on recapturing the master sequence in my machines at advanced pulldown removal, fix any problems and then export the EDL to go to the online.
Dual 2 GHz G5; 4.0 GB RAM, Mac OS X (10.4.8) Dual 2 GHz G5; 2.0 GB RAM,

FCP Capture Dropped frames with advanced pulldown

Ok so here's my problem, I have Final Cut studio with FCP 4.5 and I'm trying to import 24p advanced pulldown media from my tapes, and getting a dropped frames warning that ends import; but after trying both cameras (the one the footage was shot with and a second one) and different tapes with normal footage and 24P advanced I still get the same error message. Then I went and replaced the firewire cable with no luck, and I just went and got a PCI firewire card qualified for video import same dropped frames.
Now before I put in the PCI card I clean installed FCP studio with no luck, I also went through and triple checked every setting in FCP for any problems; and I'm wondering if it might mean that either, I need to replace the media drive I'm importing to or if I need more then my 1GB of RAM?

I too am having the exact same problem with 4.5 (although no advanced pull down) and 24p. Last week I was importing fine, this week, dropped frames right and left using batch capture after logging my clips.
I'm using a dual 2.0ghz G5 with 3.5gb of RAM, 10.4.9, booting off a 250gb internal (48gb free) disk but using a G-Tech 500gb firewire 800 external firewire drive for scratch(400gb free). Media is miniDV, tape deck is Sony GVD1000 and I've tried my DVX100b for playback as a test. I've gone thru the FCP checklist and used Disk Utility and Disk Warrior (no problems there). I've tried different tapes (including ones that were successfully captured last week).
I'm suspecting that some recent download of QTime, OSX, or iTunes is at fault. Anyone else suspect the same?

Browser says Advanced pulldown didn't take: try cinema tools?

I'm in the midst of capturing many hours of interview footage shot in 24PA on a DVX100a. Although I always use the advanced pulldown capture setting, my results are inconsistent at best. According to FCP5's browser, some of my captured clips are 23.xx fps while others are still 29.xx fps.
1) Can I trust the accuracy of the info I see in the FCP browser with regard to the frame rate of my captured clips?
If so,
2) Should I now go back and try to recapture the clips that are listed as being 29.xx fps? Or would I be better off using Cinema Tools, which I understand can remove the pulldown from an already captured clip. One factor in my reluctance to re-capture is because there are occassional TC breaks in my footage that I often have trouble removing pulldown on the fly.
Thanks!
Powerbook G4 15" Mac OS X (10.4.4)

I had this problem once with DVCPro HD, and found the problem to be that if my capture started in bars & tone (I would go 1 second into them, to ensure I got every frame of video), FCP would take the B&T frame rate for the whole clip, which happens to be 60i. So as a result, any clip that had B&T at the head was at 60, while any other clip that started midway through the tape was fine. Perhaps you have the same situation, where you are capturing a camera generated signal, which will be at 29.97, so FCP assumes that that is the frame rate you're going for.
Hope this helps.
Craig

Advance pulldown removal problem

There is a bit of info i've found about similar issues but nothing covers my scenario. I captured dvx100a 24pa footage-- but without the advance pulldown removal selected. The clips therefore all had frame rates of 29.97. I then went to tools and added the "*remove advance pulldown*".
Two different things happened to my clips. It's corrupting some clips and not others. Some worked and changed to 23.98 fps. Others instantly went offline and when I tried to reconnect the media from the capture scratch I get this:
"*File Error: 1 file(s) recognized, 0 access denied, 1 unknown*" and I can't reconnect the media--that still plays fine in quicktime from the capture scratch. I have to re-digitize all the random clips that this happens to.
I'm wondering if it might be a fps and timecode issue-- or a codec issue. Any ideas would be greatly appreciated.
thanks.

Think I figured it out. There was a duplicate folder with the media files on two hard drives and FCP may have been trying to reference both. Deleted one folder and files went offline then when i reconnected the media and applied "remove advance pulldown" it worked this time.

How to Remove Advanced Pulldown?

Some camcorders, such as the Panasonic AG-DVX100A (which is what I have), are designed to shoot in progressive mode at 24 fps (literally 23.98 fps) and then record the video to tape as a 60-field interlaced signal by applying a special kind of pull-down called advanced 2:3:3:2 pull-down. With previous versions of Final Cut, you could remove the redundant fields created by the camera’s pull-down, so that you can edit at 23.98 fps or 24 fps.
This was done previously by the following:
In Final Cut Pro, select the clips or sequence.
Choose Tools > Remove Advanced Pulldown.
How do I do this in Final Cut Pro X?
These menus do not exist and when I drop a previously existing clip into a new project there are duplicate frames (whether I choose to create the project properties based on the properties of the first clip imported or I specify manually I want it to be a 23.98p timeline), meaning that FCPX has not removed the pulldown automatically.
When I import a clip from tape/source then FCPX handles it correctly.
But there needs to be an option to fix this in already existing clips that have been imported prior to the existence of FCPX without re-importing all the footage.

well, in case anyone else who uses a dvx100 has this problem with previously imported 16x9 24pA .AVI files that you want to use in FCPX here is what i had to do. use compressor. convert each of the AVIs using these settings:
Name: FC
Description: DVX 24pA AVIs to MOV in FCPX 23.98P timeline
File Extension: mov
Estimated size: 11.05 GB/hour of source
Audio Encoder
16-bit Integer (Little Endian), Stereo (L R), 48.000 kHz
Video Encoder
Width: 720
Height: 480
Pixel aspect ratio: NTSC CCIR 601/DV (16:9)
Crop: None
Padding: None
Frame rate: 23.976
Frame Controls On:
Retiming: (Fast) Nearest Frame
Resize Filter: Linear Filter
Deinterlace Filter: Reverse Telecine
Adaptive Details: Off
Antialias: 0
Detail Level: 0
Field Output: Progressive
Codec Type: DV/DVCPRO - NTSC
Multi-pass: Off, frame reorder: Off
Scan Mode: Interlaced
Aspect Ratio: 16:9
Pixel depth: 24
Spatial quality: 100
Min. Spatial quality: 0
Temporal quality: 0
Min. temporal quality: 0
Compatible with Mac

Removing Advanced Pulldown from AVI files

I've recently switched from Vegas 4.0 to Final Cut Pro 5.1 and I'm trying to remove the advanced pulldown from my AVI files. I tried using Cinema Tools and it could not use the AVI. Then I tried using FCP tools/remove advanced pulldown option and the file went offline. Can sombody tell me how to do this?
Thanks

It wasn't out of sync before. I shot it on the Panasonic DVX100 in 24pa. Removed the pulldown and edited the film in Vegas. Now I want to transfer it to FCP change it to 16X9 and make a 16X9 24P DVD in DVD Studio Pro. When I did copy it back to tape from Vegas I used LP instead of SP so I could fit the entire movie on a mini dv tape. Maybe that has something to do with it not being able to remove the pulldown during capture? I think I'm going to try and split it up into 2 tapes and record sp mode.
Mac Pro 2.66 Mac OS X (10.4.7) FCS

Field Dominance inconsistent after Advanced Pulldown capture

Following up on my immediately previous post (regarding the interview footage I captured from my dvx 100A using advanced pulldown setting in FCP5) I notice that, according to my FCP5 browser, some of my captured 23.xx clips show a Field Dominance of Lower (Even), while other clips show the word None under Field Dominance. Should I be concerned? And, if so, what's the solution?
Thanks!
Powerbook G4 15" Mac OS X (10.4.4)

Answered in another topic. Thanks!

Remove Advanced Pulldown and Duplicate Frames

I've been researching this but still have not figured it out:
When I import Canon XF100 footage shot in 24fps from my CF card into FCP 7, in the "Log and Transfer" window under "Preferences", should I check or uncheck "Remove Advanced Pulldown and Duplicate Frames"? My thought was to uncheck the box since it is a function specific to P2 cards and that it wouldn't make a difference either way for my footage. Also (and I could be wrong), I didn't think any pulldown was necessary since I was shooting in 24fps. However, when I examined 2 test clips taken through both paths, there was one noticeable difference: the unchecked clip is larger (644.8MB) than the checked (582.8MB). Hmmmm....
Does this mean the footage changes based on if that box is checked or not?
And in my shooting/import scenario, should I check or uncheck that box?
Thank you.

23.98 and 23.98
> I have a few different cameras and some need pulldown and some don't but I've always left it checked under the > assumption that if there's nothing to pulldown it can't/won't and everything has been fine.
good to know. i agree. based on my conversations with the canon xf software folks, they were not entirely sure whether or not to check the box, so it doesn't seem to be a significant impact on the work flow.
thanks all for your input.

Reconnect media dialogue not working properly after advanced pulldown rem..

i'm running a macpro with the latest version of FCP (5.1.4) and tiger (10.4.9)
i have a project where some of the footage is 24Pa, but was captured as regular 29.97 ntsc footage. because it's 24pa it's creating some interesting banding when i try to export out with out removing the pulldown. in an attempt to remedy this problem i decided to remove the pulldown and export everything as a 23.98 file (it's going on the web)
I selected all the clips that needed to have the pulldown removed and used the "remove advanced pulldown" from the tools menu. fcp went through and processed everything as it should, but when it finished it only reconnected a couple of the clips, leaving the rest offline.
I then selected the offline clips to manually reconnect them, and the reconnect dialogue opens, it lets me choose the files, but it doesn't show the file in the bottom half of the window, but it will continue to let me choose the next file down, the problem is when i hit the end of the list of files to reconnect, it still shows all the files in the top, and none in the bottome, but the "skip" "locate" and "search" button are no longer available and the "connect" button at the bottom is also not available.
i've checked the processed files with quicktime and they all read as 23.98 files now.
I made a copy of all the media files beforehand, so i have all the raw captures as 29.97 clips just as a forethought.
any ideas as to what the issues are? and why the reconnect dialogue is acting so strangely?
2.66 macPro Mac OS X (10.4.9) 2gb ram fcp 5.1.4

This shouldn't work. What the proper way of doing things is to capture, reverse telecine, THEN import into FCP and begin editing. You cannot, AFAIK, edit, then reverse telecine and have it connect. This is because all the original clips are linked to 29.97 media, and you are trying to connect them to 23.98 media...and it doesn't want to because the frame rates differ.
Remove pulldown BEFORE you edit, not after.
Shane

Cisco 2960S FPS-L PoE switch with Avaya 9811g VOIP setup

Hello,
I am connecting a setup for data/voice connecting Catalyst 2960S-FPS-L PoE switch with Avaya 9811g series VOIP phone. As per my knowledge cisco switch works well with Cisco phone as it has got some builtin "Macros" and Intelligent PoE recognition when we connect device getting the details of another device through CDP. I understand I have to create data and voice vlan with QOS then enable trunking on the interface to other switch that is also 2960. Little confuse if is there any compatibility issues with Switch and Avaya phone regarding protocol/data/voice...?
Do I have to do PoE config for each port on the each interface?
any help or detail config will help.
Thanks in advance.

Hi I am back after good research. created two vlan data and voice with trunk on interface1/0/48 given below config..
connection b/w 2960s FPS Switch and Avaya 9611g IP Phone.
lldp/cdp is enable on switch
So I created this config if some one can take a look .
expert advise if something wrong?..
I am only concern with Voice and PoE as voice is my priority. do i have to map something for voice quality?
also if i create another Trunk port one allow voice other allow data both cable will go to switch will that be issue?
interface....
switchport access vlan x
switchport mode access
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switchport voice vlan xx
srr-queue bandwidth share 10 10 60 20
queue-set 2
priority-queue out
mls qos trust cos
auto qos voip trust
spanning-tree portfast
interface ........
switchport trunk allowed vlan x,x
switchport mode trunk
switchport nonegotiate
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Advanced Pulldown Issues

I'm capturing footage from a concert recorded on a bunch of Panasonic DVX100a cameras. ALL cameras were configured identically for 24p Advanced recording.
Most tapes are capturing fine, but with some I am constantly getting an error in the advanced pulldown cadence. So, I have several questions:
(1) Is there a way to actually SEE what the pulldown cadence is for the footage in question?
(2) Where can I go to get more IN DEPTH information on pulldown cadence (I have already read a bunch of stuff on it)—specifically as it applies to FCP, if possible?
(3) From what I've read about Cinema Tools, it seems to be more suited for standard 3:2 pulldown, not advanced 2:3:3:2 pulldown. Am I mistaken, and how would I go about using CT in this case?
(4) In the capture window, when I advance through the footage one frame at a time, I can see that every 5th frame appears interlaced (I realize this is the split frame in the middle of the 2:3:3:2 pattern). This pattern is consistent—even at the point where the errors occur there seem to be no "breaks". So what problem is there with the pulldown cadence that's causing the error?
(5) If I capture the footage normally, at 30fps, can I then dump it back to tape at 24p Advanced to re-apply the 2:3:3:2 pulldown? Is this an acceptable way to fix the problem, or will I end up with the interlaced 5th frame (see question 4 above) littered throughout the new footage?
Any posts, articles, books, or web sites that can be suggested to help me understand this problem are appreciated.

Thanks for your reply...This is all good info, and just makes me realize how much more I have to learn on this topic! I was under the impression that removing the pulldown would help with the appearance of interlacing once the material is captured...but could be understanding this incorrectly. I suppose I'm simply trying to get the best image quality with as little appearance of interlacing as possible. The other problem is that I'm sure whether it was shot as 24 P or 24 PA...it's unfortunately an acquired project that was started quite a while back, and we are taking over from a big ad firm who is not so willing to help. Sooo...there wasn't much difference in interlacing/quality etc when I capture with pulldown versus without, so I'm assuming that means its 24 P. We are adding this material to some newer material just shot on DVCPro HD at 24 p, and will eventually make it's way to DVDs, the company's website, etc. Don't think it will be used for broadcast...Sooo, any advice about workflow would be great!! Should I be capturing at 29.97 or 23.98? With/Without pulldown? Is there anything I can do about the interlacing? Thanks!!!

23.98 fps advanced pulldown removel with lower field dominance??

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