Appendix 1

When Shooting Digital Video
camera’s menu. When the 2 : 3 : 3 : 2 cadence is used, the capture settings in Final Cut Pro must be
set to 23.98 with advanced 2 : 3 : 3 : 2 removal (see Figure 2.3). The easiest way to achieve these settings
is to do an “easy setup” to the appropriate video format, “DV NTSC Advanced 2 : 3 : 3 : 2
removal.” If you are using DVC Pro 50 or DVC Pro HD, there may not be a “24PA Advanced
2 : 3 : 3 : 2 removal” for your format in easy setup. If it is not there you can make one by selecting
your format in 24P (i.e., DVC Pro 50 24P) and making a copy of the setup. Open this and check the
advanced 2 : 3 : 3 : 2 removal checkbox in the capture settings.
Figure 2.3 2 : 3 : 3 : 2 setting in capture settings
The video can now be captured as 23.98 video with no need for reverse telecine. This cadence produces
an odd “stepped” motion on the 29.97 video and should only be captured at 23.98.
Because the data rates are much higher during capture with 2 : 3 : 3 : 2 removal, 23.98 PA should never
be captured to a fi rewire drive, but directly to the fastest drive available, usually the internal hard
drive. Once captured, it can be transferred to a removable fi rewire drive and edited.
The “advanced” pull-down pattern of 2 : 3 : 3 : 2 makes the reverse telecine process simpler and faster.
As shown in Figure 2.4, by recording the A frame into both fi elds of the 0 frame, the B frame into
both fi elds of the 1 frame, one fi eld of B and one of C into the 2 frame, two fi elds of C into 3, and,
fi nally, two fi elds of D into 4. Now all that is needed is to remove the 2 frame and you are reversed
back to 23.98. So simple, it is done in capture in Final Cut Pro. The 24P cameras create this cadence
in the camera and record to standard DV videotape. Compare this reverse telecine to Chapter 1 on
fi lm workfl ow.
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