These blurays play in p on the above Sony bluray players, and it is said on new Panasonic bluray players. First, thank you for this thread; it has been remarkably informative but I'm still left with a nagging doubt about my own needs. In addition, I have a Canon T3i. My goal includes shooting footage that can play back at most smaller venue, independent film festivals without risk of significant combing or other interlacing-related artifact.
Incidentally, the file type the Vixia uses is. MTS which itself has been a pain to deal with but that's mostly another matter.
After reading the posts here, and some info elsewhere, I now realize if I plan to playback on a computer monitor I'm better off shooting with, and exporting in progressive scan, and if I want to playback on an interlaced display, such as a TV, I may be better off having shot in an interlaced format and exported in interlaced format; can you tell me if I've got that right so far?
But I'm still somewhat concerned because I've exported. I suppose I need to experiment some more and see how it plays back on my HDTV, but I'm getting a bit behind in my editing and don't want to get too far down the wrong path before changing course if I have to. Succinctly, I'd really appreciate suggested block steps I should default to e.
Given that distribution to film festivals would likely be via BD or DVD, I am thinking I'm better off still shooting in Canon's version of 60i, but I'm just asking for opinions here. Meanwhile, it seems to me the decision may also depend on what the projector technology is at the theaters: is it essentially TV-based systems, or is it a computer monitor, or could it be either?
From a pure viewing standpoint, it hardly matters whether you shoot in 60i, 30p or 24p. The real dilemma is when you try to combine disparate formats on a single edit time line. The result may not be seamless or pretty, though, if you combine 24p with either of the other two, or try to convert 24p to something else.
Some of the early Vixia models created 24p from a 30 HZ sensor in a way that conflicted with some editing products. Perhaps that has been remedied now. Some editing products Pinnacle 16 are supposed to allow mixed formats in a single project, without need to background render non-conforming clips to the master project setting, but I've not tried that. Before you commit to any big project, I'd suggest you try mixing short clips of distinct frame rate in a project and see how the output appears.
If you shoot x 60p video on any device, that is probably best kept in that format and not transformed, which is not to say that it can't be done. As for x 60p, I'm not aware of any Canon or Nikon models that use it. Canon appears to be in no hurry to add it to the 5D series. If there is a Sony Blu-ray player that supports x 60p video, that's a far cry from taking for granted that any bargain player sold between and will play such discs, or that there is AVCHD2 firmware for various brands and models.
Cousin Ned is not likely to buy a new player or finaggle with firmware just to see the non-compliant disc you sent him. Neither Sony nor Panasonic seem to be going out of their way to let the public in on what seems to be rather closely held and therefore self-defeating information about how to enable people to share the format.
Any link to the firmware or to a BD player spec sheet that affirms x 60p support. Is Sony alone in this? There may be no move to offer x 60p compliant players so long as there are no commercial videos that use it; and no commercial producers will offer AVCHD 2 compliant discs if there are few players that support it.
Most seem more keen to allow WiFi web streamin via the players. Please, where? Got a link? The user forum is open only to registered buyers, so I can't verify if Vegas has now changed, but the Sonystyle site is mute on the topic, except for cameras.
Sorry, I can't point you to a spec sheet. I can say that the term "p" on consumer electronic equipment is marketspeak for "p60". I've never understood why the CE manufacturers distinguish between media types like this Is it worth the hefty price tag? We take a look at the Cine, the high-end model in this series. The Nikon Z9 is the company's first camera to feature a stacked CMOS sensor, which brings a raft of new features, including blazing speed and autofocus performance to the Z lineup.
Click through for our detailed first impressions of Nikon's latest professional ILC. The Sony a7 IV is the fourth generation of the company's core a7 full-frame mirrorless camera model, and it's the most advanced yet. Thus even tho it is 60i, you wont' see any interlace lines.
The PsF method canon uses is called PF When viewing on computer, no interlace line. The encoder will convert the 30p video into 60i. To make life easier, I would suggest shooting PF May 18th, , AM Cary Knoop. Originally Posted by Dave Baker. May 18th, , AM Ron Evans. I'm surprised someone hasn't pointed out that 60i is 60 fields per second, not 60 frames, so it equates to 30 fps. It is used by TV companies in this country 50i as it's PAL land for sports and action stuff because it makes motion look a little smoother, since the movement is spread over 2 interlaced half frames.
It's good for TV, but needs de-interlacing for computer viewing. Just read OP post again after edit. I would shoot 60i as he is going to DVD. May 18th, , PM Taky Cheung. I would still suggest PF Dance Recital is for parents which they won't be concerning about smooth motion. But the overall look will speak to them as the general impression of the video work. May 19th, , AM Ron Evans. But they do not want the "film " look.
They want to relive the experience of the performance. They want a live look. To be there again. Mostly not wanted except when you go for Long Exposure pictures. I am preferring to shoot my footage in the exact frame rate I intend to edit and output later because it delivers the best results.
However, it is tempting to shoot footage at higher rates because you can capture more details. You can still decide later what you are using the footage for. In cases where you want to shoot B-Roll and slow-motion scenes you might want to be flexible and shoot at higher frame rates.
If you edit different frame rates on a given timeline you will encounter limitations. To understand what happens in detail, please refer to my article: Video Frame Rates explained — Interpreting footage and using different frame rates on the timeline.
I am importing e. A very brief insight into aspect ratios like and and others: There is a variety of cinematic aspect…. Ending up with footage that was shot at different frame rates is a real world scenario — to handle that…. How much does a 3-min video cost?
The video was made for the makers of Kahlua and Absolut Vodka. Photo- and video-wise. I can only speak…. Thank you for the explanation, I have several video options on my camera that are totally Greek to me, this explains them all very clearly. For digital output like DVD or Internet … progressive frame rates are the way to go. Interlaced had in the analog world just the purpose of reducing the bandwith for broadcasting.
From here on only progressive full frames count. Depending on what you want to achieve, you choose the frame rate. Movie and broadcast content goes already into a 4k at 60p direction and so do TV sets with high refresh rates. As long as the Blu-ray specs, or more important, manufacturers with their BD players support 60p, AND the connection e. In the US and Europe. Has it therefore been common place for most live events such as sports and concerts to be filmed in 60i in the analog NTSC world?
I am just wondering as i am trying to get a NTSC LaserDisc transferred to the digital domain but when transferred to 30p Any suggestions? I just read your paragraph on flickering effect with a striped shirt. I filmed a short clip in Tahiti with the water shimmering and a horizontal striped shirt. It was 60 frames in x I had to reduce it obviously to burn on a DVD and now the shirt flickers and there is like a bubble in front of my lips. I used Corel editing pro 7.
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