720p Vs. 1080i

[Barry Green]

Three of the major US broadcasters are broadcasting 720p; the others are mainly broadcasting 1080i. Overall the market is something like 75% 1080i, 25% 720p. HVX lets you do both; pick the format that’s appropriate for the job you’re shooting.

1080/24p is better than 720/24p. 1080/30p is better than 720/30p. 720/60p is better than 1080/60i. But 720pN takes up half (or less than half) the storage space of 1080, so that has to be a factor.

For ultimate resolution and smoothest compression, 1080/24p or 1080/30p is my first choice. For best “reality” motion rendering, 720/60p is better than 1080/60i. For variable frame rates, you have to use 720.

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[Shane Ross]

We shoot 720p 24PN and 720p60 (for slo-mo), and convert to 1080p 23.98 after we lock picture. We do this because we are using this camera in conjunction with the Varicam, which shoots 720p only. Final output looks great, no problems or complaints.

Plus our storage needs are low. That is a big plus.

Shane

Littlefrog Post
http://www.lfhd.net

[Shahriar Rahman]

I posted my question separately in this forum, but it sounds like in your response that you may know what my best option should be. I am editing a short film shot on Varicam in a 23.98 timeline. The specs for the clips (captured from an aj-1200 deck) in my timeline is listed as being compressed with DVCPRO HD 720p60 codec, at 960X720 and 23.98 fps – the usual. The director got pick-up shots using HVX200. Even though the cameraman was told to shoot 24p, the pickup shot clips (after being rendered in the 24p timeline) show up as being compressed using DVPPRO HD 1080i60 codec at 1280X1080 and 29.97fps.

Should I assume from this that the cameraman made a mistake in his settings?
DId I have any other options when importing them using the Import P2 feature?
What is the best way to deal with the 1080i60 footage? Is there any way I can convert them so they play smooth in my 24p timeline?

Your advice will be greatly appreciated.

[Shane Ross]

[editor4yourfilm] “Should I assume from this that the cameraman made a mistake in his settings?”

No. 1080i60 is 60 interlaced FIELDS…which works out to be 30 fps…or 29.97.

[editor4yourfilm] “DId I have any other options when importing them using the Import P2 feature?”

Nope. The P2 import feature imports the footage exactly as it was shot. It cannot convert it to anything else.

[editor4yourfilm] “What is the best way to deal with the 1080i60 footage? Is there any way I can convert them so they play smooth in my 24p timeline?”

You can see what Compressor can do for you. Bring in a clip and use the ADVANCED SETTINGS to convert it to 720p24…see what it looks like.

But I suspect this will be a toughie. Because you need to not only downconvert to 720p, but also convert 29.97 to 23.98. Make sure all the settings in Compressor are set to the best settings.

Shane

Littlefrog Post
http://www.lfhd.net

[Shahriar Rahman]

Shane;

There is one thing I don’t understand…why do you say it is not a camera setting issue? I have never used the HVX200 personally but as far as I know it allows you to shoot 720p60 (which gets pulldowned to 23.98 in fcp). Wasn’t this the proper setting instead of the 1080i60 (29.97fps)?

If I understand it correctly, the 2:3:3:2 pulldown allows fcp to convert the 60 progressive frames into 24 (actually 23.98) frames, using a technology that Panasonic and Apple developed together. What would be the pros/cons of shooting 720p24 directly with the HVX200 (is this possible)? Can the Varicam shoot 720p24? If it can shoot “true” 24p wouldn’t this be the best setting for a film (instead of pulldowned 23.98)?

I know I am barraging you with a lot of questions, but the other sources on the internet are so confusing. Besides, I like to get my answers directly from a human being, not from something that was typed up by someone who doesn’t know what I need.

I appreciate your time.

[Shane Ross]

[editor4yourfilm] ”
There is one thing I don’t understand…why do you say it is not a camera setting issue? I have never used the HVX200 personally but as far as I know it allows you to shoot 720p60 (which gets pulldowned to 23.98 in fcp). Wasn’t this the proper setting instead of the 1080i60 (29.97fps)?”

Where did I say it is not a camera setting issue? I don’t see any of my comments stating that. The camera allows you to shoot 81 different formats, including 720p60 and 1080i60. But, if you shoot 1080i60, you cannot import that as 720p60…it is 1080i. To make it 720p, you need to convert it AFTER you import.

Oh…and 720p60 does NOT get pulled down to 23.98. That records at 59.94…because you told it to. That is the frame rate of 720p60…59.94. If you shot 720p24, then it has flagged frames…59.94 that you can extract frames out to get 23.98. But it also has the setting 720p 24PN…which records 23.98 NATIVE…no pulldown to remove. This is a very good space saving format to record.

[editor4yourfilm] “If I understand it correctly, the 2:3:3:2 pulldown allows fcp to convert the 60 progressive frames into 24 (actually 23.98) frames, using a technology that Panasonic and Apple developed together. What would be the pros/cons of shooting 720p24 directly with the HVX200 (is this possible)? Can the Varicam shoot 720p24? If it can shoot “true” 24p wouldn’t this be the best setting for a film (instead of pulldowned 23.98)?”

I just gave the reasons for shooting 24PN with the HVX…saves space. Takes up less than half the space that 720p60 takes….and yes, it is possible. The varicam shoots 720p24, but onto tape at 59.94. The tape ALWAYS records at 59.94. But when you capture, the footage is flagged and pulldown is removed so you are left with 23.98 fps. The Varicam cannot shoot 23.98 native. 23.98 pulled down is perfectly fine and looks great. ONCE UPON A TIME IN MEXICO…a feature film by Robert Rodriguez, was shot with the Varicam at 720p24.

Shane

Littlefrog Post
http://www.lfhd.net

[Shahriar Rahman]

Thanks for clearing those issues up for me, Shane!