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1080i vs 1080p
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If I’m shooting exclusively for the web I use 1080p 30 or 720p 30, but mostly 1080p. I shoot for other video companies based in other cities (and countries) and they ask for progressive anyway, no matter what the final product is. As Gary Adcock likes to say: “Interlaced is a delivery codec, not an acquisition codec.”
– Don
Don Greening
Reeltime Videoworks
http://www.reeltimevideoworks.com -
I think there have been posts on this forum about formats and targeted use. The problem is it’s hard to hit a moving target. I do VNRs also.
Do you have broadcasters using HD VNRs?
Are you finding you have to repurpose material? I am.It’s not uncommon for me to use the same material to TV Spot in Standard Def, Digital Signage advertising in HD, and also versions for web use.
Broadcast is generally 1080i60 or, in some cases, 720p60.
60 is good if you have fast action subjects such as sports.I prefer to shoot 1080p30 most of the time. If you’re OK with the temporal motion it’ll work going to i60. You can’t add temporal motion though so you have to make sure it looks OK to begin with. It’s fine for talking heads (interviews, product shots with careful camera movement). It would be hell if you had to go to PAL compatible though.
Some people shoot everything 24p. It certainly works with pulldown in i60. Many if not most episodic TV is shot 24p. Sans pulldown and you’re all set for web and blu-ray use and you can certainly use it for DVD (see any feature film on DVD). 24p can throw lots of folks who aren’t familiar with the shooting guides regarding camera movement.
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Bob,
if its web and web only…then 1080/30 is just fine. The web content is going to end up at around 640×360 and the web site is most likely to use h.264 as a codec.
VIMEO is a great place to test your content using that codec. I use it all the time. I tend not to bother trancoding and uploading full HD as it eats up my bit budget, 640×360 is fine for most things.
https://vimeo.com/18796359I much prefer to shoot 30p or even 60p here in the UK if I know its going to end on web or as HD streaming from a media player direct into a plasma/lcd panel. That was one of the reason for buying into Sony XDCAM. Hey if anybody wants UK footage just let me know…you can be sure its going to work just fine over there.
If you use Compressor then this is the set up I find works ok for web. If the web site needs a higher res version for download then up the frame size and data rate.
Audio Encoder
AAC, Stereo (L R), 44.100 kHz
Video Encoder
Format: QT
Width: 640
Height: 360
Pixel aspect ratio: Square
Crop: None
Padding: None
Frame rate: (100% of source)
Frame Controls: Off
Codec Type: H.264
Multi-pass: On, frame reorder: On
Pixel depth: 24
Spatial quality: 75
Min. Spatial quality: 25
Key frame interval: 30
Temporal quality: 50
Min. temporal quality: 25
Average data rate: 3.584 (Mbps)regards
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I like that Adcock quote. I’ve got to use it some place (with clients?).
Basically I shoot 1080p30 most of the time. If I need high temporal resolution I’ll shoot 720p60 over 1080i60. -
Yeah, I heard him say that when he did a web interview in 2007 while holding an EX1. I can’t remember what trade how he was at. I don’t think it was NAB but my memory is going…….
– Don
Don Greening
Reeltime Videoworks
http://www.reeltimevideoworks.com -
I stopped shooting Interlaced as soon as I started using my EX-1.
Normally I end up on SD or Web, so no point to shoot 1080.
I shoot 720p25 or 720p50.
If 1080 is needed, I would shoot 1080p25.
I080 Interlaced would be OK if needed 1080 in Slow motion or was requested an Interlaced video.No I’m shooting with the NANO and mostly shoot 720p50. Works as p25 and is great to get Interlaced or Slow Mow.
Again, going to SD or Web, 1080 is not just a burden but also compromise the quality on downscaling.
I have streamlined my downscaling workflow because is critical. I use only SHAKE.
rafael -
[Rafael Amador] “I have streamlined my downscaling workflow because is critical.”
Not quite clear what you mean by this. Could you explain further, please?
Bob C
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Hi Bob,
Last year I made a bunch of test with all the “downscaling” solutions I had at hand.
I tried with FC, Compressor, VideoPurifier, Motion and SHAKE.
FC, Compressor, VideoPurifier and Motion made quite similar job and all of them very poor compared with SHAKE. SHAKE offers like 8 different filters for up or down-scaling.
If tried with 1080 and 720 to SD and web videos of different sizes. The results are noticeable at first sight when done on Prores, and even more noticeable after the H264 compression.
Cheers,
rafael -
Hi Rafael,
Where would I learn more about Shake? Can’t seem to find good info on it on the web – probably too generic a term, or I’m not using the right search words.
What little I found made it seem like very very expensive software.
Bob C
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Hi Bob,
Sorry for the delay.
Apple discontinued SHAKE some three years ago (although have been updating the application).
At that time, they slashed the price from 3.000 to 499 US$. Versions for AVID or UNIX (5.000 US$) disappeared.
The functionality of SHAKE now is very limited compared with AE, however people still using (and buying) SHAKE because the unique quality of the internal filters.
I use it for Speed changes, Standard conversions and up/downscaling.
BTW, I haven’t see any other piece of software with such good manual and tutorial.The best Downscaling option on FCS, may be in MOTION: The “Lanczos” filter. is in the “Image units”.
There is apiece of free software (https://avisynth.org/mediawiki/Main_Page) that uses basically the same filters, the only problem is that is PC based.
here there are some tips on how to use it:
https://www.precomposed.com/blog/2009/07/hd-to-sd-dvd-best-methods/
cheers,
rafael
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