Reverse 3:2 pulldown detects and removes the repeated fields added when film is transferred to interlaced video, recovering the original progressive film frames when the cadence is intact. The process is also called reverse telecine, inverse telecine (IVTC), or 3:2 pullup.
Why 3:2 pulldown is used
Film is commonly shot at 24 frames per second. Legacy NTSC video runs at approximately 60 interlaced fields per second, or 29.97 two-field frames per second. Pulldown distributes each film frame’s fields across that video cadence so film-rate material can fit the video format.
Because the two rates do not align evenly, some film frames contribute two fields and others three. When those fields are paired into interlaced video frames, some pairs come from different film moments. A single frame assembled from those fields can show comb-like edges on moving objects.
How the cadence looks
Imagine four consecutive film frames—A, B, C, and D—distributed across five interlaced video frames. A simplified representation is AA, BB, BC, CD, DD. The mixed pairs, such as BC, combine fields from adjacent film frames; they are not complete progressive images of one instant.
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The pattern repeats, but its starting phase and field order matter. “3:2” and “2:3” can describe the same family of field distribution from different starting conventions. Field dominance—the order in which the interlaced fields occur in time—also affects reconstruction.
What reverse pulldown does
Reverse pulldown detects the repeating field cadence, matches fields that belong to the same film frame, and removes the redundant fields. Rather than treating every interlaced video frame as an independent image, it reconstructs the original progressive sequence. In the four-to-five example, five interlaced frames can be reconfigured into four progressive frames.
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The result is generally described as 24p or 23.98p, depending on the source and video convention. For example, AJA’s FS3 documentation specifies 23.98p or PsF23.98 output for its listed supported inputs; that is a device-specific example, not a guarantee for every converter or file.
When to use it—and when not to
Use it for film-originated footage with recoverable cadence
Reverse telecine is useful when film-originated material was stored or delivered with interlaced pulldown and you need the original progressive frames for film-rate editing or compositing. Autodesk describes capturing telecined NTSC or 1080i material while removing pulldown and converting five interlaced frames into four progressive frames.
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Use deinterlacing for native interlaced video
Native interlaced video has no underlying 3:2 film cadence to reverse. Ordinary deinterlacing is the appropriate approach for that footage, and may also be needed for sections of a mixed source where film cadence cannot be recovered.
Expect trouble at cadence breaks
Edits, dropped or duplicated fields, mixed film and native-video content, or irregular cadence can interrupt detection. AJA’s FS3 manual says its reverse-telecine function supports specified interlaced inputs with consistent 3:2 or 2:3:3:2 pulldown; it needs approximately 10 incoming frames to detect cadence and may need a similar interval after a cadence discontinuity. Those limits describe that product, not reverse-telecine systems generally. Analog Devices likewise describes mixed material as requiring film-mode detection for some sections and video-mode deinterlacing for others.
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How to choose a reverse-telecine workflow
Do not assume that a tool’s reverse-telecine label means it supports every source. Check the source and the exact input and output settings before processing:
- Source: Confirm the footage is film-originated and has a 3:2-family cadence, rather than native interlaced video.
- Cadence and field order: Check whether the tool detects the cadence automatically or requires a start phase and field-dominance setting.
- Format support: Verify that the particular input format and cadence pattern are supported.
- Output: Confirm the required progressive frame rate, such as 24p or 23.98p, and whether the system offers PsF output instead.
- Cadence interruptions: Check how the tool behaves at edits or mixed-content sections, and inspect those transitions for incorrect field matches.
Product capabilities vary by device, input format, cadence, field order, and output configuration. For example, see AJA’s FS3 documentation for its specified support and detection behavior, and Autodesk’s explanation of 3:2 pullup for a post-production workflow. For the distinction between film-mode detection and video-mode deinterlacing in mixed material, see Analog Devices’ discussion of advanced deinterlacing.
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Key terms
- Pulldown or telecine: Distributing film-frame fields into a video cadence to fit the video frame and field rate.
- Reverse telecine, inverse telecine, IVTC, or 3:2 pullup: Detecting and undoing pulldown to recover progressive film frames.
- Cadence: The repeating order in which fields from source frames are distributed.
- Field dominance: Which field in an interlaced pair occurs first in time.
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