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1080i vs. 720
As I understand it, if I record 1080 on the HVX200, even if I record at 60, 30, or 24p, the video is stored as 60i in 1 of 2 pulldown patterns (24p or 24pa). However 720 has two options, native and standard. With this, 720 is stored as complete frames, allowing me to record from 12 fps to 60fps.
My question here is- I am going to shoot a low-budget indie in the fashion of “Snatch” and “Lock, Stock, and Two Smoking Barrels” which, as you know, employs aggressive in-camera and post manipulation.
Which would be better for this? Of course I want to shoot as hi-res as I can, but would 720 native give me a more flexible palette?
If I am missing something here, please explain. Thanks.
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12 Replies
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If you’re shooting 24p, 1080 is better than 720. Just use an editing program that supports removing the pulldown and you’ll be fine.
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[original idiot] “Of course I want to shoot as hi-res as I can, but would 720 native give me a more flexible palette?”
Correct.
While the 1080 setting on the HVX 200 do give you minimally sharper images, the camera was built around the 720p functionality- with longer recording times on the P2 cards and the flexibility of doing variable speed captures.It is you that needs to decide which works for you.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows -
You get somewhat higher resolution and much milder compression in 1080/24p than you do in 720/24p.
But you get more flexibility as far as recording time and frame rates in 720 mode.
Many people feel that 720p is the “sweet spot” with the HVX, which is fine, but if you’re after ultimate image quality just recognize that it does a better job in 1080/24p than it does in 720/24p, and better in 1080/30p than it does in 720/30p. However I do prefer 720/60p over 1080/60i.
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Get the most from your DVX camera. The DVX Book and DVX DVD are now available on ebay and at Amazon (https://www.fiftv.com/db) -
What about recording in 1080 and pulldown in FCP 5.1.2 which I have and do all the work there, including frame rate adjustment? My concern is this: if I slow down a shot, will there be motion blur or artifact that needs smoothing out? I have heard that frame rate adjustment in 720 native is glass smooth when it comes to slo-mo
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You can adjust frame rate and shutter angle, independently. Yep, it is glass smooth. I shot some cool pictures of the ocean (60fps*45degrees) and as the waves were breaking you can see each individual drop–like the dust in the famous Saving Private Ryan opening sequence.
I’m curious (a) what will you deliver to the editor; and (b) what will the editor deliver?
RH
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In regard to (a) and (b) it all depends on what format we determine is best and what will constitute the smoothest workflow. I have 5.1.2 on the latest MacPro with processors on steroids.
Question: if I decide to import 1080i and do frame rate adjustments in post, will I still have that “glass” quality for slo-mo?
Thanks for your patience.
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To answer your question bluntly: Not without a pulldown to 720p60, which is acheived in camera. I don’t believe it would be as sweet as the in camera effect, but I haven’t actually given it a try, I will later on, though. Pansonic did a really good job of mimicing the mechanics of film style acquisition.
Regarding formats, I find the following link to be invaluable: https://www.digitalpreservation.gov/formats/fdd/browse_list.shtml
P2 is MXF. The techie info is in there. DPX_2 is a more desirable format. Uprezzing from MXF (QT actually when you’re in FCP) to DPX_2 is very expensive. So if you plan a filmout/cinema release, it is advantageous to capture with a different camera, like a Dalsa, Viper, Varicam etc. Those details are covered extensively in the American Cinematographer.RH
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If you thinking about doing lot of variable frame rate effects it will be better for you to do it in camera than in post. This is what will be looking better than done in post.
As far as quality 1080 is slightly better but not much, (720×960) or (1080×1280) compressed by DVCPRO HD codec. You will get more flexibility to shoot slo-mo with 720p (always progressive) and also you will be able to record longer time on cards.Mariusz
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[rmherd] “DPX_2 is a more desirable format. Uprezzing from MXF (QT actually when you’re in FCP) to DPX_2 is very expensive. “
What?? Many companies have FREE QT to DPX conversion tools. This is not an expensive process in anything other than time and storage space.
[rmherd] “So if you plan a filmout/cinema release, it is advantageous to capture with a different camera, like a Dalsa, Viper, Varicam etc.”
P2 /HVX material was included as b-roll Flags of our Fathers/ Letters from Iwo Jima and has been tested extensively for filmout purposes. While the other cameras may offer much in the way of accessories- Certainly content from the HVX would be suitable for filmout and certainly better than the DV footage from “Open Water” which was shown as a Film master in the theaters last year.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows -
P2/HVX material also made it into the theatrical release of Scorsese’s “The Departed”, and the middle eastern theatrical release of Spielberg’s “Munich”, and there have been reports that it was also used in Spider-Man III for some POV stuff.
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Get the most from your DVX camera. The DVX Book and DVX DVD are now available on ebay and at Amazon (https://www.fiftv.com/db)
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