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.

B B

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

C D D A

B B

C 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

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.

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Chapter 13

Working with 24p Video and 24 fps EDLs