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!

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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

Audio goes missing after advanced pulldown removal

Anybody come across this? I can't find anything in the forum about it.
I shot 24pAdvanced on my DVX-100A. Captured everything as 29.97 NTSC DV in 20 min segments. I do a DV Start/Stop Detect to get markers placed, then do an advanced pulldown removal and edit on 23.98 timeline. I've got about 100 hours of footage, and have been going along quite smoothly on about 80 of those hours.
Recently however, some clips mysteriously lose their audio after the pulldown removal! Both audio tracks are still there, but they are flatlined. All except for the first 4 or 5 seconds actually. That much audio is present. Then the waveforms show it just flatline. Recapturing the tape replaces the audio, but then it disappears after the pulldown again!
Any thoughts would be welcome
2GHz Mac Book Pro Mac OS X (10.4.8) 1.5 GB RAM, FCP 5.1.2, 23" HD monitor

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,

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

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 ?

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?

Exporting from After Effects (field dominance issues?)

Hi all,
I created a FCP DV/NTSC sequence with field dominance set to none (I'm working with still images, this improves the quality a lot). I then export that sequence as a quicktime movie file and import that movie file into After Effects.
The problem is after I'm done working in After Effects, I can't export a quicktime file without it looking really poor quality. When exporting, I preserve all the original FCP sequence settings, except the field dominance settings(doesn't seem to be an option in After Effects for this?).
So pretty much I am trying to get a sharp picture when exporting in After Effects, so I can take it back into FCP. Please assist.

Your workflow is quite limited by the DV NTSC sequence. If your sequence is all stills, you are not necessarily tied to that setting at all. Do you need to output to a VTR via FireWire ultimately? What is your final output?
A better sequence choice might be DV50. You would export a QT movie, current settings. You don't actually export from After Effects. You render by adding your comp to the Render Queue. Good render settings would be DV50 (this would not require rendering in FCP), Animation, or perhaps ProRes 422 HQ if you have access to it. You would choose not to render fields.
If it's all stills, it would be better yet to simply start in After Effects.

Files get disconnected after removing advanced pulldown?

What does this message mean during import of a file.
http://screencast.com/t/OF4mSwA90
I got this problem after removing advanced pulldown on standard 24p footage. All the files were crossed out in the browser. i deleted them and re-imported but some are left out with that message on manual import.

The file plays fine in QT but suddenly won't import after attempted removing of advanced pulldown to all clips in the browser. The ones that remained 29.97 due to the inability of Cinema Tools to properly remove the advanced pulldown are the ones giving me the error on import.

Field Dominance problem and questions

I am trying to capture 24p Advanced DVCAM material. I've been using the easy setup. I've tried test captures of about 15 seconds (using capture now) which come into FCP with a field Dom. of NONE and load into my 23.98 sequence timeline with a olive green render indicator (I know I can edit with that as that is just a playback resolution downgrade). If I rewind to approx. the same start point on the tape and capture a 9 minute clip, it comes in with a field dominance of EVEN and loads into the exact same timeline with an orange render indicator. First off, that seems odd to me. Secondly, I've read in other forums that there is a possibility that I can change the field dom. of my longer clips and/or my sequence, but I'm not at all clear on it. Will changing the field dom. allow me to edit w/o render indicators? Do you think that it is the field dom. issue that is causing the render indicators' to appear, or could it be other issues. It seems to me that the fact that I can get the short clips to load with and olive green line, means that it probably is the field dom. issue that is causing my difficulties. Is there an error in my logic? I'm also unclear if I am able to tell FCP not to render in interlaced mode. Is that something I can do? Does it even apply to my situation?

Jerry,
Thanks for the reply. I've been "assured" (who knows what that means) that the material was shot advanced, but it might make sense for me to do a test to see if Cinema Tool pulldown removal solves my problem. Can I use the pulldown removal option in the FCP tools menu after I've captured or do I need to use Cinema Tool.
I must say I'm still baffled about my different length clips capturing with different properties even though I never changed any settings between captures. Any hunches on your part about that anomaly?

Problems removing Advanced Pulldown frames

I'm relatively new to 24PA, until now, I have captured quite a few projects now without any problems. The footage is always shot DVCPRO 50, I use the Panasonic AJ-SD93 Deck to capture the footage, selecting "remove advanced pulldown frames" in the FCP capture settings, and end up with great 23.98 progressive advanced footage.
The most recent project I've been working on, we received tapes that were shot by the same production group, same settings, same camera, and I was capturing with the same deck, same FCP settings, etc...however, after capturing, the files were not 23.98, but 29.97 (as a test, I captured from tapes in a previous project, it immediately came in as 23.98).
I tried to solve the issue after the fact by selecting the "Remove Advanced Pulldown" selection in the tool menu and received the error message *"File does not contain frames encoded using Advanced Pulldown".*
The 29.97 footage, based on my knowledge, seemed to indicate that it was, in fact, 24PA. For two reasons, one - every fifth frame in the 29.97 footage was a "split" frame, and two, breaking the footage down into fields, it seemed to have the 2-3-3-2 cadence associated with 24PA. However, for whatever reason, Final Cut could not find the cadence.
Why might this be?
I'd appreciate any informed opinions, but I can say that my guess is it has something to do with timecode and timecode breaks. The footage had an awful lot of timecode breaks and the timecode was being forced. I am wondering if this has something to do with why FCP could not pick up the cadence in the footage. (The only other variable that changed from previous successful 24PA projects is that these tapes were dubbed, and perhaps the dub house - which has shown itself prone to the occasional mistake - messed something up, but in this instance, don't see any evidence of that.)
Ultimately - I worked around the issue just fine, but it only makes matters more confusing, I brought the footage into Cinema Tools and did a Reverse Telecine (3:2 pulldown) and the footage turned it into clean-looking 23.98 progressive footage. Like I said before, analyzing the footage appeared to reveal that it was certainly 24PA with a 2-3-3-2 cadence and not 24P with a 2-3-2-3 cadence.
Any thoughts are welcome, thanks -

Just a thought: if the dub house made the dubs over SDI or analog, then the 24PA "flags" that were on the originals were likely not retained. That may be why FCP isn't seeing the pulldown cadence. I believe the only way to retain those advanced pulldown flags is to dub via firewire.
You can try capturing at 29.97 and running the files through Cinema Tools. Or see if the production company can send you the camera originals.
Jay

Basic Field Dominance question

In Tom Wolsky's FCE HD3.5 Editing Workshop book (xlnt), he mentions setting Field Dominance to None when working in 24p, but I'm unclear what this does and whether it applies to my situation:
I'm shooting 24p HDV on Canon HV20, exporting to QT movie, burn in iDVD. DVD to be played on generic DVD players - not going to Sundance.
Also, if I should be setting Field Dominance to None, when should this be done - before rendering, before exporting to QT, or ???

Most consumer cameras don't shoot true 24p. They shoot pseudo 24p recorded at 29.97. The material is still interlaced with a pulldown cadence. Pull the canvas up to 100% and step through the video at a point where there is some motion. If the HV20 uses the normal 2:3:2:3 pulldown you'll see a cadence of two frames without interlacing, then three frames with interlacing, then two without and so on. That's how movies are mashed onto television; four frames of film are spread over five frames or 10 fields of video. Changing the sequence field dominance to none doesn't affect the captured material in any way; it only affects how anything that needs to be rendered in the sequence is rendered. It should render it without interlacing.

Where do I set field dominance?

Hi,
A couple of months ago, I had edited a prgram in FCP 5. I deleted the footage after some time. Now my client has returned with some changes in the program. I re-digitized the footage & tried to re-connect it to the offline media in the timeline. However it fails to reconnect giving an error " The file does not have proper content to reconnect to " Final Edit 01" clip in sequence."
When I checked the logging info of the original clip & the re-digitized clip I found the difference in the settings of field dominance. the original is on
" Not set" while the Re-digitized is on " Even field" . I changed the settings in
" Sequence Settings" but doesn't help. Where else can I change the field dominance setting to capture the video?
Thanks.
Regards,
MANDAR
G5 Mac OS X (10.4.1)

This is the classic example of why one should NEVER load a project via Capture Now. ALWAYS mark your ins and outs and Log or Capture Clip.
That said, have you tried grabbing the clips in smaller chunks? You may find that one particular clip switches dominance and thereafter everything is switched. Try and capture the first clip only, see if it works. Then start working your way through. Otherwise, manually recreate your clips by typing in Ins and Outs, one by one.

Which Field Dominance setting in Compressor?

Hello,
Which Field Dominance setting should I choose in Compressor, given that I shot on DV in progressive mode, and have rendered and exported to uncompressed 8-bit 4:2:2? (The Field Dominance alternatives in Compressor are: "Top First", "Bottom First", "Progressive", and "Automatic".)
I am confused by this because in FCP, I believe that the correct Field Dominance setting is "Lower (Even)" (not "Progressive"), since in DV format, images are stored one field after another, even if pairs of fields were captured simultaneously, i.e. even if the camera was used in "progressive mode".
But precisely because pairs of fields were captured simultaneously when I shot in progressive mode, I suspect that the correct Field Dominance setting in Compressor is "Progressive". But perhaps I'm wrong(?).
Would someone please enlighten me?
Thanks.
Robert

For 1080i50, you should leave field dominance at Upper. The sequence field dominance (field order is a more accurate term) should be the same as that of the source footage. Stick to that rule and you'll be OK. For progressive sources it's None. For interlaced HD format sources, it's Upper. For SD interlaced sources it's Lower.
Now, in the case of 1080p25...it's progressive, but it can be carried on a 1080i50 timeline with no ill effects EXCEPT that transitions, moving titles, and perhaps certain other effects will render with the normal interlacing of the sequence format. The fix is to change the sequence field dom setting to None. Hope that makes sense.

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,

Field dominance issue?

Hello all,
Working on a project in FCP. The intended delivery format is mini-DV tape. I'm working on a sequence with the following settings: (basically NTSC DV anamorphic)
Frame Size: 720x480 NTSC DV (3:2)
Pixel Aspect: NTSC... 720x480 Anamorphic 16x9 is checked
Field Dominance: Lower (even)
Editing base: 29.97
Compressor DV/DVCPRO - NTSC (might switch to ProRes422 down the road)
Audio is 48kHz @ 16 bit Channel Grouped
I'm bringing in a clip that was provided by the client on a data dvds. I trimmed a section of the Quicktime movie for download available here: (~100mb, 30 sec)
http://dl.dropbox.com/u/11697459/Trimmed.mov
Quicktime's Inspector says the clip is:
DV, 720x480 (640x480), Millions
29.97
When I put this clip on the timeline I get some nasty artifacts that appear to be interlacing issues. I was wondering if anyone has any recommendations regarding how to handle this file to improve the quality?

Yup, that's normal DV.
This issue occurs because of interlaced video. In your pipeline, there are 2 places that it could be coming from:
1) The DVD that you captured this footage from already had this problem (look closely, it may not be something that you can initially see unless you frame-by-frame), which means that it was "amplified" by your re-capture and subsequent conversions.
2) The DVD clips don't already have this issue, and it only occurred after your filtering. This is the better of the 2 for you...
So, here's what you can do about it:
1) "Decomb" the video. There are filters available from Red Giant, The Foundry, etc... that can take video like this and "decomb" the video. Very similar to the decomb feature found in Handbrake and other video conversion tools. You can't use handbrake because Handbrake won't give you a usable file in FCP afterwards, you need a Pro tool to get good quality results that still gives you separate Audio and Video files afterwards.
2) Go back and de-interlace all of your source material. As I mentioned earlier, the reason that this pops up in the first place is because of the interlaced frames of video. The better option for what you are doing is to go back and de-interlace all of your source media. That will give you the best possible results for what you are going to output later on, because it's going to eliminate as much of the combing as possible before you output.
Please keep in mind, I'm not saying that you are going to be able to eliminate this issue completely. DV is a hated format by many Pros for exactly the issues that you are facing. But, it's not your fault. Your client has made the choice, just make sure you inform them that there are drawbacks for doing so.
Good luck!

Field Dominance inconsistent after Advanced Pulldown capture

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