Bump! Sneals2000, Holl_ands, any comments?
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2:2 pulldown detection and PsF
Hello everyone, recently I got interested with personal video cameras, and some questions have emerged. I would appreciate any information on the topic except wikipedia, I already read it. Anyway, here it goes, please correct me where I went wrong.
As I don't work directly with video on low level, I have quite a generic understanding about "pulldown flags", "repeat flags", etc. If I understand correctly, repeat flags are used for progressive video, encoded in its native frame rate like 24fps, to signal to a DVD player (or to a TV set if a TV accepts native progressive sources) that certain fields (not frames?) have to be repeated in order to obtain native for particular coutry video rate (60i or 50i).
A proper DVD player, in turn, has to set "pulldown flags" in the interlaced video when it outputs over digital connection (HDMI only, or digital component as well? What about analog output?) to notify a monitor that the source is progressive, so a TV could perform IVTC.
If there are no pulldown flags in the interlaced video, a TV can still reconstruct original progressive source by looking for field cadence. This works well when there are "hiccups" in the cadence, like 2:3, 3:2:3:2:2, 6:4 or 8:7.
Now the big question: how IVTC works for "smooth" cadences like 2:2 used for 24/25fps sources broadcast over PAL/SECAM as well as for 30p sources broadcast over NTSC?
It seems to me, that while 2:2 pulldown is simpler to implement and is sort of technically cleaner than 2:3 pulldown, I don't see any way to detect this cadence without progressive flags. I guess flags are not needed at all for PAL/SECAM, because analog video was targeted to CRT TVs that are inherently interlaced. But what about 100Hz TVs that appeared in Europe 10 or so years ago, they still were designed for analog signal, how did they work, they were supposed to be progressive?
How does 2:2 pulldown work for digital 50i TV (25p-t0-50i), both standard definition and high definition? Is such video required to embed "progressive" or "pulldown" flags?
How does 2:2 pulldown work for digital 60i TV (30p-to-60i), is there any difference is requirements and actual implementation compared to 50i TV?
What is the relation of 2:2 pulldown to progressive segmented frame (PsF)? Some older articles define PsF as hi-def standard only, other articles and books like Poynton's book define PsF as 24p format. On another hand it seems that standard-def cameras use the same approach, is it called differently? Also, some cameras including the new consumer Canon HV30 record 30p-in-60i, which to me seems like a PsF. So PsF can be both SD and HD, and can be 24p (with 48i video stream), 25p (with 50i stream) and 30p (with 60i stream)?
Does PsF differ MUCH from 2:2 pulldown? I mean, aside that every frame is represented with two temporally non-shifted fields, are there any differences like service info, flags, etc?
50i TV has been using 2:2 pulldown for ages, I suppose that all 25p-originated video is properly flagged. Now when there are cameras that able to produce 30p video for 60i stream, will situation be any different for 60i market? I suppose that European TVs are able to handle 2:2 pulldown properly, but American TVs barely mastered 2:3 IVTC process and it seems that most of currently available TVs are not able to process 2:2 pulldown. Does this mean that 30p video will remain as mastering standard only for 30p timeline in an NLE and for web delivery, or is there a chance that 2:2 pulldown will gain popularity on North-American market? I've read that some American shows, like Friends, were recorded in 30p, but I guess despite that fact, most TVs cannot process this cadence well.
In regards for 30p DVDs. Is it possible to master a native 30p DVD, or should it be interlaced into 60i? I know that it is possible to master a native 24p DVD. If DVD players and TVs cannot support 30p properly, it seems that it will be useful for web delivery only.
So far, it seems that 24p-in-60i is better suited for progressive video than 30p-in-60i just because more TVs can recognize the candence and restore full frame resolution. Any opinions on that?
As I don't work directly with video on low level, I have quite a generic understanding about "pulldown flags", "repeat flags", etc. If I understand correctly, repeat flags are used for progressive video, encoded in its native frame rate like 24fps, to signal to a DVD player (or to a TV set if a TV accepts native progressive sources) that certain fields (not frames?) have to be repeated in order to obtain native for particular coutry video rate (60i or 50i).
A proper DVD player, in turn, has to set "pulldown flags" in the interlaced video when it outputs over digital connection (HDMI only, or digital component as well? What about analog output?) to notify a monitor that the source is progressive, so a TV could perform IVTC.
If there are no pulldown flags in the interlaced video, a TV can still reconstruct original progressive source by looking for field cadence. This works well when there are "hiccups" in the cadence, like 2:3, 3:2:3:2:2, 6:4 or 8:7.
Now the big question: how IVTC works for "smooth" cadences like 2:2 used for 24/25fps sources broadcast over PAL/SECAM as well as for 30p sources broadcast over NTSC?
It seems to me, that while 2:2 pulldown is simpler to implement and is sort of technically cleaner than 2:3 pulldown, I don't see any way to detect this cadence without progressive flags. I guess flags are not needed at all for PAL/SECAM, because analog video was targeted to CRT TVs that are inherently interlaced. But what about 100Hz TVs that appeared in Europe 10 or so years ago, they still were designed for analog signal, how did they work, they were supposed to be progressive?
How does 2:2 pulldown work for digital 50i TV (25p-t0-50i), both standard definition and high definition? Is such video required to embed "progressive" or "pulldown" flags?
How does 2:2 pulldown work for digital 60i TV (30p-to-60i), is there any difference is requirements and actual implementation compared to 50i TV?
What is the relation of 2:2 pulldown to progressive segmented frame (PsF)? Some older articles define PsF as hi-def standard only, other articles and books like Poynton's book define PsF as 24p format. On another hand it seems that standard-def cameras use the same approach, is it called differently? Also, some cameras including the new consumer Canon HV30 record 30p-in-60i, which to me seems like a PsF. So PsF can be both SD and HD, and can be 24p (with 48i video stream), 25p (with 50i stream) and 30p (with 60i stream)?
Does PsF differ MUCH from 2:2 pulldown? I mean, aside that every frame is represented with two temporally non-shifted fields, are there any differences like service info, flags, etc?
50i TV has been using 2:2 pulldown for ages, I suppose that all 25p-originated video is properly flagged. Now when there are cameras that able to produce 30p video for 60i stream, will situation be any different for 60i market? I suppose that European TVs are able to handle 2:2 pulldown properly, but American TVs barely mastered 2:3 IVTC process and it seems that most of currently available TVs are not able to process 2:2 pulldown. Does this mean that 30p video will remain as mastering standard only for 30p timeline in an NLE and for web delivery, or is there a chance that 2:2 pulldown will gain popularity on North-American market? I've read that some American shows, like Friends, were recorded in 30p, but I guess despite that fact, most TVs cannot process this cadence well.
In regards for 30p DVDs. Is it possible to master a native 30p DVD, or should it be interlaced into 60i? I know that it is possible to master a native 24p DVD. If DVD players and TVs cannot support 30p properly, it seems that it will be useful for web delivery only.
So far, it seems that 24p-in-60i is better suited for progressive video than 30p-in-60i just because more TVs can recognize the candence and restore full frame resolution. Any opinions on that?
1 - 6 of 6 Posts
AIUI repeat flags are only relevant for 24p carried in 60i or 60p containers to signal the redunant "repeat"ed field, rather than coding it. As there are no redundant fields with 2:2 25p carried in 50i/50p there are no repeat flags?
Whether the source is interlaced or progressive, the decoded can decide whether to code each frame (or is it field?) as progressive or interlaced AIUI. Therefore static shots in an interlaced source can still be MPEG2 coded as progressive, with the decoder making the choice based on an estimate of the motion between fields within the frame?
I may be incorrect in this assumption - and it is possible to force progressive I believe for sources that are known to be entirely 25p 2:2.
Not as far as I know - it is up to the source to detect the redundant fields in 60i 3:2 content and de-interlace to 24p and then optionally 3:2 pulldown again to 60p. Obviously if the DVD player is outputting progressive then the de-interlacing process isn't required in the display (say 480p, 720p, or 1080p output - or 576p 2:2 output in Europe)
AFAIK there is no standard method used by DVD players for informing the display which field is repeated.
Also AIUI most decent DVD players don't de-interlace always based on the pulldown repeat field flag on the MPEG2 stream as they decode. Instead they recode to 60i (or 50i in Europe) and separately de-interlace to 24p - this is so that incorrectly flagged streams, streams with inconsistent 3:2 cadence or other cadences can still be de-interlaced correctly.
AIUI the sources don't signal whether the content within an interlaced signal is progressive source or not, and nor do they signal repeat fields / frames to the display. The display does the detection separately.
I believe this is always the case - detection of cadence rather than being told the cadence?
Pulldown flags are the province of MPEG2 encoding, not uncompressed video fed from source to display. This has always been my understanding.
This also means that broadcast TV and DVD replay are handled the same way.
IVTC is usually reserved for describing 3:2 pulldown removal in my experience. In other words the removal of the redundant field which is required to correctly de-interlace a 60i 3:2 signal, or removal of the redundant frame in a 60p 3:2 signal required to remove the cadence judder.
2:2 progressive 25p (and 30p when it is occasionally used) in a 50i signal conversion to 50p is usually just described as de-interlacing...
The set has to analyse field 1 and field 2 and decide whether the content is progressive (i.e. no movement between the two fields) or interlaced (i.e. movement between the two fields). It then decides whether to merge the two fields into a single frame (which is then repeated), or take the content from one field only for each frame. This is the crudest WEAVE / BOB switch on motion de-interlacing process. This also means that static interlaced sources are treated as progressive - and on low cost de-interlacers, where 25p and 50i sources are mixed in a 50i stream there is sometimes a brief point where the wrong de-interlacing method is used.
(Ironically our analogue TV system PAL was developed to PALPlus which includes Line 23 Widescreen Signalling - also used on 576/50i PAL and component signals these days - which includes a FILM/VIDEO flag - i.e. 25p/50i native signal - as PAL decoding can be optimised based on the motion between fields being known. However this isn't used these days)
Obviously more complex de-interlacers are available which track motion, interpolate picture information, decide whether progressive or interlaced de-interlacing should be used on a block-by-block or pixel-by-pixel basis etc.
This is the same with 2:2 30p 60i content and 2:2 25p 50i content AFAIK.
You look at the two fields and see how similar they are. If they are very dissimilar it is likely to be caused by interlaced motion, if they are very similar and only differ in a small amount it is likely they are from the same source frame.
I don't think there are flags in either format that reach the display - though I may be wrong.
Again - no flags - and obviously no repeat fields.
Not AFAIK.
PsF is effectively just a 24p/25p/30p signal carried in a 48i/50i/60i signal - but with equipment that is aware of the 2:2 cadence and can thus recreate the source 24-30p video on replay. It was a way of recording progressive 24-30p video on 1080i VTRs without changing the recording format massively, and redesigning an entire VTR.
It is identical - they are the same thing. The only difference is that PsF is "known" about by the VTR and signalled (or the VTR is switched into PsF mode) and can thus output a 24-30p signal rather than a 48-60i signal for external de-interlacing.
There are no flags on a 25p standard video signal on HDMI/RGB/Component/Composite etc. - they are an MPEG2 facility - not a baseband signal.
They may be present in DV/HDV as well.
30p is less likely to be popular as it doesn't convert well to 50i/50p.
24p can be sped up to 25p for European sales, 30p has to be processed using frame interpolation to get it to 50i or 50p.
AIUI Max Headroom - years ago - was shot 30p. Didn't think Friends was. If you shoot 30p on film you have 6 more frames to process each second - which is a significant increase in film stock costs...
AIUI DVDs are always 50i or 60i native - but the MPEG2 encoding can exploit the progressive nature it detects in the content (rather than being told?) - and can also signal the repeat fields.
3:2 cadence detection is easier AIUI - however 25p/30p vs 50i/60i de-interlacing is a requirement for static 50i and 60i content as well as native 25p/30p content as well - so ideally de-interlacers should cope anyway...
Quote:
Originally Posted by Ungermann /forum/post/12810230
As I don't work directly with video on low level, I have quite a generic understanding about "pulldown flags", "repeat flags", etc. If I understand correctly, repeat flags are used for progressive video, encoded in its native frame rate like 24fps, to signal to a DVD player (or to a TV set if a TV accepts native progressive sources) that certain fields (not frames?) have to be repeated in order to obtain native for particular coutry video rate (60i or 50i).
AIUI repeat flags are only relevant for 24p carried in 60i or 60p containers to signal the redunant "repeat"ed field, rather than coding it. As there are no redundant fields with 2:2 25p carried in 50i/50p there are no repeat flags?
Whether the source is interlaced or progressive, the decoded can decide whether to code each frame (or is it field?) as progressive or interlaced AIUI. Therefore static shots in an interlaced source can still be MPEG2 coded as progressive, with the decoder making the choice based on an estimate of the motion between fields within the frame?
I may be incorrect in this assumption - and it is possible to force progressive I believe for sources that are known to be entirely 25p 2:2.
Quote:
A proper DVD player, in turn, has to set "pulldown flags" in the interlaced video when it outputs over digital connection (HDMI only, or digital component as well?
Not as far as I know - it is up to the source to detect the redundant fields in 60i 3:2 content and de-interlace to 24p and then optionally 3:2 pulldown again to 60p. Obviously if the DVD player is outputting progressive then the de-interlacing process isn't required in the display (say 480p, 720p, or 1080p output - or 576p 2:2 output in Europe)
AFAIK there is no standard method used by DVD players for informing the display which field is repeated.
Also AIUI most decent DVD players don't de-interlace always based on the pulldown repeat field flag on the MPEG2 stream as they decode. Instead they recode to 60i (or 50i in Europe) and separately de-interlace to 24p - this is so that incorrectly flagged streams, streams with inconsistent 3:2 cadence or other cadences can still be de-interlaced correctly.
Quote:
What about analog output?) to notify a monitor that the source is progressive, so a TV could perform IVTC.
AIUI the sources don't signal whether the content within an interlaced signal is progressive source or not, and nor do they signal repeat fields / frames to the display. The display does the detection separately.
Quote:
If there are no pulldown flags in the interlaced video, a TV can still reconstruct original progressive source by looking for field cadence. This works well when there are "hiccups" in the cadence, like 2:3, 3:2:3:2:2, 6:4 or 8:7.
I believe this is always the case - detection of cadence rather than being told the cadence?
Pulldown flags are the province of MPEG2 encoding, not uncompressed video fed from source to display. This has always been my understanding.
This also means that broadcast TV and DVD replay are handled the same way.
Quote:
Now the big question: how IVTC works for "smooth" cadences like 2:2 used for 24/25fps sources broadcast over PAL/SECAM as well as for 30p sources broadcast over NTSC?
IVTC is usually reserved for describing 3:2 pulldown removal in my experience. In other words the removal of the redundant field which is required to correctly de-interlace a 60i 3:2 signal, or removal of the redundant frame in a 60p 3:2 signal required to remove the cadence judder.
2:2 progressive 25p (and 30p when it is occasionally used) in a 50i signal conversion to 50p is usually just described as de-interlacing...
The set has to analyse field 1 and field 2 and decide whether the content is progressive (i.e. no movement between the two fields) or interlaced (i.e. movement between the two fields). It then decides whether to merge the two fields into a single frame (which is then repeated), or take the content from one field only for each frame. This is the crudest WEAVE / BOB switch on motion de-interlacing process. This also means that static interlaced sources are treated as progressive - and on low cost de-interlacers, where 25p and 50i sources are mixed in a 50i stream there is sometimes a brief point where the wrong de-interlacing method is used.
(Ironically our analogue TV system PAL was developed to PALPlus which includes Line 23 Widescreen Signalling - also used on 576/50i PAL and component signals these days - which includes a FILM/VIDEO flag - i.e. 25p/50i native signal - as PAL decoding can be optimised based on the motion between fields being known. However this isn't used these days)
Obviously more complex de-interlacers are available which track motion, interpolate picture information, decide whether progressive or interlaced de-interlacing should be used on a block-by-block or pixel-by-pixel basis etc.
This is the same with 2:2 30p 60i content and 2:2 25p 50i content AFAIK.
Quote:
It seems to me, that while 2:2 pulldown is simpler to implement and is sort of technically cleaner than 2:3 pulldown, I don't see any way to detect this cadence without progressive flags.
You look at the two fields and see how similar they are. If they are very dissimilar it is likely to be caused by interlaced motion, if they are very similar and only differ in a small amount it is likely they are from the same source frame.
Quote:
I guess flags are not needed at all for PAL/SECAM, because analog video was targeted to CRT TVs that are inherently interlaced. But what about 100Hz TVs that appeared in Europe 10 or so years ago, they still were designed for analog signal, how did they work, they were supposed to be progressive?
I don't think there are flags in either format that reach the display - though I may be wrong.
Quote:
How does 2:2 pulldown work for digital 50i TV (25p-t0-50i), both standard definition and high definition? Is such video required to embed "progressive" or "pulldown" flags?
Again - no flags - and obviously no repeat fields.
Quote:
How does 2:2 pulldown work for digital 60i TV (30p-to-60i), is there any difference is requirements and actual implementation compared to 50i TV?
Not AFAIK.
Quote:
What is the relation of 2:2 pulldown to progressive segmented frame (PsF)? Some older articles define PsF as hi-def standard only, other articles and books like Poynton's book define PsF as 24p format. On another hand it seems that standard-def cameras use the same approach, is it called differently? Also, some cameras including the new consumer Canon HV30 record 30p-in-60i, which to me seems like a PsF. So PsF can be both SD and HD, and can be 24p (with 48i video stream), 25p (with 50i stream) and 30p (with 60i stream)?
PsF is effectively just a 24p/25p/30p signal carried in a 48i/50i/60i signal - but with equipment that is aware of the 2:2 cadence and can thus recreate the source 24-30p video on replay. It was a way of recording progressive 24-30p video on 1080i VTRs without changing the recording format massively, and redesigning an entire VTR.
Quote:
Does PsF differ MUCH from 2:2 pulldown? I mean, aside that every frame is represented with two temporally non-shifted fields, are there any differences like service info, flags, etc?
It is identical - they are the same thing. The only difference is that PsF is "known" about by the VTR and signalled (or the VTR is switched into PsF mode) and can thus output a 24-30p signal rather than a 48-60i signal for external de-interlacing.
Quote:
50i TV has been using 2:2 pulldown for ages, I suppose that all 25p-originated video is properly flagged.
There are no flags on a 25p standard video signal on HDMI/RGB/Component/Composite etc. - they are an MPEG2 facility - not a baseband signal.
They may be present in DV/HDV as well.
Quote:
Now when there are cameras that able to produce 30p video for 60i stream, will situation be any different for 60i market? I suppose that European TVs are able to handle 2:2 pulldown properly, but American TVs barely mastered 2:3 IVTC process and it seems that most of currently available TVs are not able to process 2:2 pulldown. Does this mean that 30p video will remain as mastering standard only for 30p timeline in an NLE and for web delivery, or is there a chance that 2:2 pulldown will gain popularity on North-American market? I've read that some American shows, like Friends, were recorded in 30p, but I guess despite that fact, most TVs cannot process this cadence well.
30p is less likely to be popular as it doesn't convert well to 50i/50p.
24p can be sped up to 25p for European sales, 30p has to be processed using frame interpolation to get it to 50i or 50p.
AIUI Max Headroom - years ago - was shot 30p. Didn't think Friends was. If you shoot 30p on film you have 6 more frames to process each second - which is a significant increase in film stock costs...
Quote:
In regards for 30p DVDs. Is it possible to master a native 30p DVD, or should it be interlaced into 60i? I know that it is possible to master a native 24p DVD. If DVD players and TVs cannot support 30p properly, it seems that it will be useful for web delivery only.
AIUI DVDs are always 50i or 60i native - but the MPEG2 encoding can exploit the progressive nature it detects in the content (rather than being told?) - and can also signal the repeat fields.
Quote:
So far, it seems that 24p-in-60i is better suited for progressive video than 30p-in-60i just because more TVs can recognize the candence and restore full frame resolution. Any opinions on that?
3:2 cadence detection is easier AIUI - however 25p/30p vs 50i/60i de-interlacing is a requirement for static 50i and 60i content as well as native 25p/30p content as well - so ideally de-interlacers should cope anyway...
sneals2000, thanks a LOT for the answers!
I find it really disturbing that in the age of digital TV there is no reliable way to transmit information about whether video is PsF or native interlaced (likewise, widescreen or not). Heck, even analog PALPlus has this feature, albeit unused as you said.
It is almost as disturbing as Microsoft's failure to provide aspect ratio field in AVI container. Microsoft have switched to better thought out WMV container, what are we going to switch to? (I guess this is a rhetorical question).
Well, if one has his own camcorder, the last thing he will be thinking of is sending 2-minute video of his son's first steps to BBC.
I find it really disturbing that in the age of digital TV there is no reliable way to transmit information about whether video is PsF or native interlaced (likewise, widescreen or not). Heck, even analog PALPlus has this feature, albeit unused as you said.
It is almost as disturbing as Microsoft's failure to provide aspect ratio field in AVI container. Microsoft have switched to better thought out WMV container, what are we going to switch to? (I guess this is a rhetorical question).
Quote:
30p is less likely to be popular as it doesn't convert well to 50i/50p.
Well, if one has his own camcorder, the last thing he will be thinking of is sending 2-minute video of his son's first steps to BBC.
The problem is that it would be difficult to preserve - and falls apart very easily in production conditions. Particularly if you imagine shows with a mixture of 24/25p and 50i/60i native content - and gets even more complex if you have both on screen at once (or worse superimposed over each other - as is the case with rolling / crawling titles on many shows)
The only real way to do it properly to guarantee good quality results is to engineer your de-interlacers properly, or ditch interlace...
It is the PALPlus that is unused - not the feature. When PALPlus was used - the feature was used! However this wasn't for de-interlacing purposes it was for composite decoding purposes. (PAL decoding can be improved if you know there is no motion between fields)
Yep - pixel aspect ratio is vital in any file format that aims to be taken seriously in video production circles.
Yep - but that is one reason why broadcasters in the US don't use it. Of course if you are producing a show with CGI or compositing, 30p requires 6 more frames per second to render... A significant cost increase potentially...
Quote:
Originally Posted by Ungermann /forum/post/12850011
sneals2000, thanks a LOT for the answers!
I find it really disturbing that in the age of digital TV there is no reliable way to transmit information about whether video is PsF or native interlaced (likewise, widescreen or not).
The problem is that it would be difficult to preserve - and falls apart very easily in production conditions. Particularly if you imagine shows with a mixture of 24/25p and 50i/60i native content - and gets even more complex if you have both on screen at once (or worse superimposed over each other - as is the case with rolling / crawling titles on many shows)
The only real way to do it properly to guarantee good quality results is to engineer your de-interlacers properly, or ditch interlace...
Quote:
Heck, even analog PALPlus has this feature, albeit unused as you said.
It is the PALPlus that is unused - not the feature. When PALPlus was used - the feature was used! However this wasn't for de-interlacing purposes it was for composite decoding purposes. (PAL decoding can be improved if you know there is no motion between fields)
Quote:
It is almost as disturbing as Microsoft's failure to provide aspect ratio field in AVI container. Microsoft have switched to better thought out WMV container, what are we going to switch to? (I guess this is a rhetorical question).
Yep - pixel aspect ratio is vital in any file format that aims to be taken seriously in video production circles.
Quote:
Well, if one has his own camcorder, the last thing he will be thinking of is sending 2-minute video of his son's first steps to BBC.
Yep - but that is one reason why broadcasters in the US don't use it. Of course if you are producing a show with CGI or compositing, 30p requires 6 more frames per second to render... A significant cost increase potentially...
Is video recorded on tape different from broadcast video or from video sent by a DVD player to a TV? The reason I am asking is that after the Canon HV20 camcorder was released last year, its owners started moaning all over the Net that Canon screwed them up by being lazy (or by doing it intentionally) and not providing "pulldown flags" for 1080p24 mode, which is 24p-in-60i. So, either they don't know what they are asking for, or such thing as "pulldown flags" exists indeed? AFAIK, video recorded on a higher-grade Canon XH-A1 camera in 1080p24 is recognized by most editing applications as 24p, while video recorded by the HV20 is recognized as regular 60i, and additional hoops must be jumped over to remove the pulldown.
Quote:
Quote:
A proper DVD player, in turn, has to set "pulldown flags" in the interlaced video when it outputs over digital connection (HDMI only, or digital component as well?
Not as far as I know - it is up to the source to detect the redundant fields in 60i 3:2 content and de-interlace to 24p and then optionally 3:2 pulldown again to 60p.
Is video recorded on tape different from broadcast video or from video sent by a DVD player to a TV? The reason I am asking is that after the Canon HV20 camcorder was released last year, its owners started moaning all over the Net that Canon screwed them up by being lazy (or by doing it intentionally) and not providing "pulldown flags" for 1080p24 mode, which is 24p-in-60i. So, either they don't know what they are asking for, or such thing as "pulldown flags" exists indeed? AFAIK, video recorded on a higher-grade Canon XH-A1 camera in 1080p24 is recognized by most editing applications as 24p, while video recorded by the HV20 is recognized as regular 60i, and additional hoops must be jumped over to remove the pulldown.
1 - 6 of 6 Posts
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