60i vs. 30p

I feel like I've been getting some inconsistent info on which to shoot for my specific camera from searches on the web, so I thought someone here would have some better answers. Now some of you will jump on that first sentence and say "Well it depends on what your scene is" and I do somewhat agree but please read on. First of all, I use a Canon HF11 which shoots AVCHD at 60i, 30p, or 24p but records them ALL as 60i. The camera is not really important but the way it records is the issue. Forget about the 24p as I played with a few test clips, removing pulldown was a pain, and the footage looked bad. I've been shooting 30p 99.9% of the time. I read somewhere(posters credentials unknown) if your final output is TV, shoot 60i but if it's web/computer shoot 30p, this is even though it all comes out as 60i. My final output will ,in the somewhat near future,(50 years or less...) be an HDTV/BluRay player. In one place I read that for action scenes(motocross/car racing/etc.) you should shoot 30p, in another place someone said just the opposite, again credentials unknown. This is where I started to question things. In my own thinking, it makes total sense shooting progressive for action scenes. A single frame, even recorded as two interlaced fields, should be pretty "clean". For interlaced, a fast moving object may move enough in that 1/60sec to have that object in the two fields have jagged edges. Ok, so I think that pretty much leaves me with, why not always shoot 30p(recorded as 60i) or am I missing something that 60i has over 30p(60i)?

My personal feeling is that is the quality of motion. All of my stuff is home video. And if I deinterlace or shoot in 30p it looks less like video. I do not want a film-like look; I want a window into that time and place. 60i has that video effect. 30p does not. It does indeed depend on your intent. I wouldn't generalize about "action" or anything else. If you want it to look like a home movie, use 60i.
I've read many complaints on these forums about "problems" in the motion. I think many of these are people who wanted the 60i look (fluid motion) and deinterlaced. Perhaps this is because there is marketing hype that 1080p means "Full HD" and is "best". That's a load of garbage. You either mean 1080p30 or 1080p60, and they are two very different things. And one looks profoundly different than 1080i60.

Similar Messages

  • Editing in 60i or 30p? for canon Hf 10 and multiple frame rates?

    My canon hf 10 shoots at 60i, 30p, and 24p. I would like to incorporate all the features of my camera into my projects, like the 24 frame movie mode for certain clips in my video, shoot at 30p for others, and 60i for fast moving when we are in a car. Now I understand that my camera does 30p and 24p in a wrapper, but if I were to edit a project timeline, which setting would be the correct to use If I wanted to use all the different footage??? Should I just use 60i? and just remove pulldown for 24p footage? Someone said that progressive is better then interlaced for DVD and internet viewing, or should I edit at 30p? 24p is of course not a reasonable option so I left it out. So I am left with either 60i or 30p...
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    Insanity is hereditary, you get it from your children

  • 60i or 30p? (AX2000)

    I shot some footage with the Sony AX2000 @ a frame rate of 30p. When I drag this footage to a new sequence in Premiere (CS5) it creates an interlaced sequence. Why does Premiere think this footage is interlaced?
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    Thanks Ann!,
    So this leads to another question then, does it even do any good to record to 30p if its acually recording 60i?. And if its recoring 60i should I even bother editing on a 30p timeline, or just out put the final product progressive?
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  • Canon AVCHD 30p vs. 60i, encoding times?

    I just picked up a new Canon HF-M41 video camera and am presented with the dilema of shooting in either 60i or 30p AVCHD. On this camera, the 30p is 'recorded' at 60i but saved as 30p.
    I am literally stuck on the frame rate selection screen of the camera, not certain which frame rate I should go with.
    I do most of my publishing to YouTube and to DVD. It seems like 30p would be a better format for me to work with natively on the camera, but I'm not sure how Premiere handles 30p from Canon. Since the video has been shot 60i and then wrapped as 30p, has anyone had enough experience with this to tell me if Premiere does a good job of handling this kind of video?
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    I'm sure many of you have already figured out the best frame rate (60i or PF30) on Canon camcorders when it comes to working in Premiere. If you have any advice please let me know.

    I don't like the idea of locking myself out of future Blu-ray authoring (or needing a conversion to make it work).  If it were me, I'd stick to shooting HD at Blu-ray legal specs.  At 1080, that means 24p or 30i only.

  • Multiclip with 30p and 60i footage

    I recently did a shoot with 3 cameras-- two of them were at 30p, and one was set to 60i. FCP won't let me make a multiclip of them because they are not in the same format. I assume the most expedient thing would be to convert the 60i material into 30p. Is that correct? What is the best way to do this with Final Cut Studio (FCP or Compressor-- how?)
    Thanks.

    What settings would I use?
    Quicktime uncompressed 8-bit, 10-bit, or one of the Mpeg-2 settings?
    My guess is that I want to leave everything the same as it is, only change it from 60i to 30p.
    I think I need the "Compressor for Dummies" kind of an answer.
    Thanks.

  • Convert 1080 30p HDV to SD DVD - Help!!

    This may have been solved already on here but I couldn't find it so here I go. I have footage shot with the new Sony HVR-S270u HDV camera in 1080 30P mode. I'm trying to figure out what would be the best workflow. I need to be able to give the client SD DVDs now and then later be able to produce blu-ray discs when available. My thought was to edit everything now in HD and then down convert the edited project in compressor with the SD DVD presets. I've tested that method and it works, ok? Have some flicker at times in the motion scenes. Is this the best way or close with some tweeking?
    Could I edit it in DVCAM mode to produce the SD DVDs and then when I'm ready for the Blu-ray recapture from the tapes to HD?
    Any help and guidance would be much appreciated.
    Mike

    I'm shooting mostly school plays and concerts. The lighting is not ideal and usually fairly dim compared to what video or film actually wants. I've found that with the Sony V1U, which is not a great low light camera, shooting in 30p allows the shutter to be as slow as 1/30 of a second, so the camera doesn't need as much auto gain to give me the brightness I want. So there is less noise that way. I capture that in ProRes 422 30p (you have to set it up manually, there is no easy preset for it). When things move rapidly, I get blur rather than interlace "lines". I like it better. Many shoot in 24p for similar reasons: motion blur and film look. I'm never going to film, so 30p is better for me.
    The only issue I've ever found is when the light is pretty bright (outside on sunny day), the shutter speed gets faster, like 1/250th of a second or more. Then motion is not so blurred, and you get "judder:" the picture jumps from one image to the next more obviously. If you freeze frame on each one, it is a pretty good snap shot every 1/30th of a second. WIth 60i, you get 1/2 the frame every 1/60th of a second which is the proceeded the other 1/2 1/60th of a second later. Most TV sets show that pretty smoothly, but you can still get interlace lines. It all depends on YOUR preferences and those of your audience.
    I find that they both down-rez to SD using compressor quite well and using either HDV or ProRes can produce equally good results. With HDV, you don't get 30p on capture, but 60i with each frame being 1/2 of the 30p frame. I find that the ProRes 30p compresses marginally better on fast action.
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    Capture all that stuff in HDV native, ProRes 60i and 30p (for the stuff shot in 30p). Put it into FCP timelines and then compress to SD using compressor. Use DVD SP to create a DVD with all of the various tests on it (properly labeled with titles and menus) so you know what's what. Then view that DVD on a variety of TV set and computer monitors (if computers are part of you delivery). You'll know pretty quickly what works for you.
    Eddie O

  • 30p... or not?

    Hi there, a few questions (in bold)-
    After reading several threads on the fact that 30p seems to look nicer than 60i, I noticed that my AVCHD camcorder seems to be able to shoot in 60i or 30p. When reading [this link|http://www.amazon.com/Canon-VIXIA-AVCHD-Camcorder-Optical/dp/B001DTXK8G] from Amazon, I saw the following:
    +"30p Progressive mode is a progressive format that is the perfect frame rate for the web because it delivers clarity for fast-action subjects. Plus, it is ideal for displaying crisp images on your home theatre system or computer monitor. Before now 30p was exclusively featured on pro-level camcorders but Canon now offers the widest frame rate options for every videographer. *(Note: Records in 60i onto memory card.)"*+
    I was a little confused. The camcorder can record either onto its internal hard-drive or to a SD memory card. *Does anyone know whether the words in bold mean it records in 60i only onto SD cards, or also to the hard-drive? If it is onto both, how can they call it 30p if it is really 60i?*
    Second question:
    I was under the impression from reading another thread that FCE doesn't work with 30fps content. However, *am I right that 30p is 30fps, unlike 60i that is 29.97? If so, will FCE work with this footage?*
    P.S. I got the info about 30p being 30fps from Wikipedia, where it says:
    +"30p, or 30-frame progressive, is a noninterlaced format and produces video at 30 frames per second"+
    Message was edited by: skalicki`

    As far as the frame rates go, the original US spec, RS-170 was 30 Hz. When they added color, and color sub-carrier, they added the approx. 29.97Hz, because they added color subcarrier to NTSC, and needed to harmonize with it's 3.58MHz frequency, to avoid phase errors. The CRT TV's were simplier to implement reasonably that way, given the state of technologies those days, phosphors, etc. They couldn't make fast deflection system cost effectively, and due to phosphor fading, they'd have flicker in progressive mode. The motion is slightly more jerky at 30Hz frame refresh rate than at 60Hz field rate(even though movies project at 24 (due to even bigger technology limitation of those days - many people actually like it), so they came up with interlaced scheme, which dealt cost effectively with the motion, deflection circuits (tubes and magnetics) and phosphor limitations of those days. The NTSC spec is at: http://www.paradiso-design.net/videostandards_en.html. ATSC then added all those standards and aded hthe HD, because the technology to do great de-inerlacing and temporal shifts is easily built into the decoder IC's, and it has to convert everything into some fixed spatial resolution of the display panel or DLP chip anyway (CRT's are gone). The same goes for frame rates. TV's generally receive some 36 different formats off air and add something like 60p over HDMI, and convert any of that to something like 1920x1080x120p (or whatever the panel is) anyway. They have to deal with 9X16 and 3x4, stretching, non-linear stretching, clipping, pan&scanning, sizing, PIPs/split screens, fitering of the image, anyway, so what is an extra format between friends? So they handle 36+ time more than NTSC. The INPUT formats supported are described here: http://www.paradiso-design.net/videostandards_en.html.
    PC's which were traditionally dealing with fixed pages of text or graphics, later added motionless JPEG and even later motion video, in general deal well with resolutions, scan rates and sizing, but not with de-interlacing, so because of that, legacy and bandwiths, they'd rather stay in progressive world. (Microsoft fought pretty hard for 720p).
    Camcorders had other technology problems, mainly bandwidths, power consumption, tapes, they have to encode, decode, drive scaled down display, etc., so they are also bogged down by technology limitations and legacy. That led them to 1440 limitations, tapes, etc. They were also created at the time when Firewire was in. First, for the digital world, the DV was created - quite proprietary and quite incompatible at the beginning. Later on, when ATSC and HD came, they decided HDV based on MPEG 2. The main push for digital actually came from Hollywood, because of Digital Rights Management - copy protection. As serial copying didn't degrade quality, and as HD was basically impossible to copy protect in analog domain, the digial domain was the only way to go, and ultimately pushed into PC's as well.
    The Canons support acqusition (on the sensor) and shifting out at either 60i (one field at a time each whole frame still 30 times/sec), or they acquire every 1/30th of a second (30Hz), and save as the second field of the original frame where the second field of 1/60th of a second delayed sample would go, so that the storage device gets 60-like structured and timed data. The benefits of the 30Hz rate is better (longer) exposure in low light as well as good compatibility with PC's that cannot handle de-intarlacing. The price is possibly jerkiness in very fast motion.
    According to Canon's site, they do the 30Hz acquisition at 60i storage rates onto either storage media. The data can be re-composed as 30p because you can extremely simply "de-interlace" by arranging corresponding two fields into 1 frame each 1/30th of a sec.
    The rates really do not finally matter because practically no display device (PC or TV) actually displays 30Hz or 24Hz vertical, they'd flicker like ****. That is why when panel has 120Hz refresh rate, that is all it has and it will convert all these 60i, 30P, 29.97p, 24p or whatever to what the fixed panel or DLP technology runs at. The one thing that TV will not generally handle, is 1440 horizontal pixels, that has to be re-sampled by the output device (unless it is analog signal, in which case the TV will digitize it at 1920/line). I hope this helps to understand it and that I didn't make it even more confusing. English is not my native language.
    30p is 30 Frames/second (each line in sequence), 60i is 60 fields/second (each other line in sequence, odd and even alternating). Each 2 pair of fields can compose a frame, but if there is a motion, doing it simply create unpleasant horizontal distortion, which gets handled by de-interlacing algorithms, some well, some not so well.
    The specs seem illogical, at one moment, but if you consider the technology limitation and progression, legacy issues and the fact that they had to agree on some standard, on "sampled bases", it makes sense.

  • How can I determine if certain footage is interlaced or progressive?

    Hi everyone,
    I shoot and edit my own ski/snowboard films every year. I use a Sony HDV V1U. When filming, I constantly switch between 30p and 60i depending on the shots. I do this because 60i can provide smoother slow motion in post. Problem is, when I am editing the footage, it is extremely difficult to tell what's progressive and what's interlaced. My computer monitor, like all, is progressive, so interlaced footage looks just like 30p. One way I can tell is by adjusting the clips speed to slow motion, then judging by how Premiere handles the frame blending, I know what it is. But that is not practical for a massive project. A simple solution would be preveiwing on an external monitor, but from what I have read you cannot stream HDV back to a camera from the timeline, and I do not have money for a special capture card.
    So my question is, is there any way to playback HDV on an external monitor (my TV or camera LCD) without a special capture card, or is there another easy way to determine 60i from 30p on Premiere's timeline? Thanks.
    Here's my specs:
    Premiere Pro CS3
    Sony HDV V1U camcorder
    Windows vista 64bit
    Intel quad CPU Q9550 2.83 GHz
    8 GB ram
    Nvidia GTX 260 graphics card

    The problem is the files are not all seperate. In one single file of 45 mins of HDV footage, there is a mixture of 60i and 30p, but the computer will always think it is 60i. I have been filming this way for years, and mixing the 2 record modes is definately the way to go.  In my past projects, I was working with DV so it was not a problem.

  • Why no 1080p support?

    I've got a Canon Vixia HF10 and it drives me nuts that neither iMovie 09 or Final Cut Express support AVCHD 1080p. I'm at least glad that they recently updated FCE to support full 1920x1080 (as opposed to 1440x1080) and that the new iMovie supports it. But I hate dealing with de-interlacing, and I've seen a lot of forum posts in here that '09 doesn't seem to handle de-interlacing well. Virtually all new hard drive or flash based HD camcorders currently on the market can record progressively. Is there some sort of technical barrier to supporting 1080p? Or is it they just want to reserve that feature for their top tier software (e.g. Final Cut Studio)?

    Really, that's interesting? It's actually shooting interlaced? Where did you read that? Is it "simulating" progressive or something? Is that something that all AVCHD cameras do or just the Canon Vixia models?
    I've been doing some tests since that first post and you're right that I've found good results regardless.
    What's interesting is that I did a test and shot the same thing (walking through my office) in 60i and 30p and found that the transcoded AIC files (aquired by having iMovie show me the source file, never dropped into the timeline) show very different results. The shot in 60i showed really awful jaggies around door frames and other edges (I moved it around a lot to force bad results) but the 30p shot looks smooth. This led me to believe that when it only interlaces it when you drop it into the timeline (something I saw suggested on another forum). But then, dropping those same raw AIC files into FCE and looking at the item properties window, it says that both are interlaced. Just curious what is DIFFERENT about them. As far as stats, they're exactly the same, but one is clearly smooth and the other jaggy.
    All this to say: I'm going to continue shooting in the 30p setting (regardless of what it's actually doing) and hopefully everything will come out smooth.
    Message was edited by: Hanuman
    Message was edited by: Hanuman

  • Is it really true that Final Cut Express cannot import full HD footage?

    I have seen a comment on the Apple store website for Final Cut Express saying that FCE cannot import 1940 1080/ 60i/24p/30p frame rates, converting them to a degraded 1440 1080 14p instead!
    I have bought a Canon HF100 on Ebay, and it is shipping from Canada to Britain by surface mail, so I have a few weeks to sort out my editing software. I was planning to buy FCE, but when I saw that comment I was surprised to think Apple haven't got a leading edge program for editing HD footage, which is the coming thing. I have trawled through all the posts in this forum, but with my head spinning I am still not sure what FCE can do.
    So in desperation I am asking for a simple answer from someone: can I import the best quality footage I will shoot on this camera and retain that quality in FCE, or do I have to look for another program? And what would that program be? Please help me!

    Hi Ian, thanks for getting involved with my potential fiasco to help me out! I have just been on ebay and saw a british person selling a vixia camera, so I messaged him to ask about this issue, and this is what he has replied:
    "A good question! You are quite right, UK frame rates are 25p and 50i. This used to be an issue with analogue cameras with NTSC vs PAL, but with HD, it is no detriment at all, in fact it is an advantage. Firstly, it means you get more frames per second, so you get less blurring with fast moving objects and have more raw material to work with; secondly, HD TV's will automatically recognise the format and play the footage with no issue; finally, if you do need to output at 25p or 50i, any decent editing package will convert the frame rate. A quick bit of maths shows that a long GOP under 25/50 is 0.6s long, whereas under 30/60, it is only 0.5s. I import the clips into the PC, edit them, render into a single file, then use Nero 9 (the only software currently able to do this) to create an AVCHD folder back on the camera, so that the finished film can be played out in glorious full HD using the HDMI port. Hope this helps! "
    I'm not really clear on what he is saying with regards to showing the footage... can only play it via the camera? Means cannot burn DVD? Uploading to Facebook not an issue?
    He says editing software can convert the frame rate, so can that be done in FCE? What do you say, Tom?

  • 23.98 frame rate

    I have HD footage that has a frame rate of 23.98 fps. Can I edit Final Cut Express 4.0.1 without it converting the frame rate to 25fps? There's no setting in the Esy Setup for 24fps, so I am assuming it will have to re-render everything to 25fps every time I import? Or how do I set the project frame rate to 24?
    thanks

    FCE does not handle 24fps (23.98 fps) material.  Never did.  FCE only handles certain frame sizes/rates/codecs, and you cannot make specific settings other than what is available in the Easy Setups.
    24 fps is a progressive mode; for editing in FCE you would have to convert it to an interlaced mode; or to 720p 25 or 30.  If you are in North America then that would be 60i or 30p.  The 25 fps/50i Easy Setups are PAL (European) settings.
    My main suggestion is to upgrade to Final Cut Pro X.   All other ways of editing the video in FCE involve converting the frame rate, which is not a great thing to have to do as there is always some loss of quality.  You might look into JES Deinterlacer or MPEG Streamclip to convert the frame rate to one that is supported in FCE.

  • Highest Quality

    Hi guys,
    I have a Sony camera HDR-SR11 and I am shooting on 1920x1080i 60fps at 16Mbps (highest possible quality on that camera).
    How can I keep the highest quality through the whole process of importing/editing/re-compressing?
    I see my videos are already being imported at 1080p 30fps... Is this good? Can I import at 1080i 60fps? Is this better?
    To re-compress, should I use the iMovie hidef export or export via QT? Which one is better? Should choose 16Mbps when exporting? Any benefit going higher?
    Thanx

    Your camera shoots MPEG-4 AVC/H.264. Open up one of those files in QT and see what the frame rate says (command-i)
    iMovie will convert to what it wants/needs on import
    I would shoot video in every format you camera shoots export that footage how you think you are going to be using then, use the one you want that looks best to you. Depending on what you are outputting to as you final destination each type format has an advantages.
    Even though my camera will shoot 1080/60i, 1080/30p, 1080/24p, 720/60p, 720/30p, and 720/24p I shoot 720p30 because the files are smaller easier to work with, exports well to the web, and meets my needs. Also while you can certainly tell the difference between 1080 and 720 I had an old DV 480i camera that shot better footage than one of my cheap 720p cameras and certainly better than ANY 720p phone My point is size and rate is not everything. There are also people out there that will not shoot at ANY rate but 24. Why? Because they like that "film" look. Something iMovie now supports BTW.
    Not sure what you are talking about on "Final Compression" in iMovie you can share out; small medium, large, 720 or 1080 unless you run a custom export.

  • Best frame rates for 4 different cameras in multicam

    Well, I've been flopping around in different threads on this forum, but I think the question is beginning to finally take shape for me. Basically it's all about deciding on frame rates for four different cameras I will be using to shoot a 6-day intensive course I will be teaching. The video will be primarily for computer viewing (YouTube, Quicktime movies). Here are the cameras:
    2 new Canon cameras capable of frame rates of 60i, 30 frames per second progressive "recorded as 60i", and 24 frames per second progressive also "recorded as 60i" (there is a known issue with importing the 30 frames per second into fcpx, as fcpx does not recognize this as progressive, but ClipWrap can get around this).
    1 Sony capable of 60i, 60P, and 24P
    1 Sanyo capable of 60i and 30P
    Possible settings:
    Just do all at 60i, but people say this is not so good for computer viewing
    Canon at 30 fps (using ClipWrap to see it gets recognized as progressive), and the Sony and Sanyo at 60i. Will this cause syncing or other problems, mixing frame rates like this? How bad a hit in quality is 60i on computer screens?
    Canon and Sanyo at 30 fps, Sony at 60i
    Same as #3, but use JES Deinterlacer to get Sony 60i to 30 fps.(I tried this out, by the way, and the resulting frame rate, after deinterlacing, showed up in the inspector window at 30, not 29.97. Is that a problem?
    Anyway, I aplogogize for wearing out my welcome on this forum, and I thank everyone for creating such a wonderful bank of information.

    Not sure what you're trying to achieve here - for the best overall quality, if possible, choose a frame rate that all the cameras can achieve. That way you won't lose quality in the conversion.
    If you're not satisfied with that, you need to do some tests to see which gives you the effect you like best. Nobody here can help you really - it's up to you.
    Andy

  • NTSC vs PAL: difference in compatibility

    I wonder if there is a difference between compatibility of NTSC and PAL camera's of the same model. Checking on the supported camcorder list one can read the Sony HDR XR500 is compatible for NTSC but isn't mentioned in the PAL list.
    http://support.apple.com/kb/HT3290?viewlocale=en_US#2
    I'm thinking of buying this camera in a PAL version and use iMovie09 and FCE 4. Does anyone knows of this will work without any third party software?
    Thanks in advance...

    I have heard that there is no such a thing as NTSC HD or PAL HD and that HD is just HD regardless of the country it's in. Is that true?
    Yes, its true. As far as "definition" goes, there is no difference between a 1080 image shot in a PAL region and a 1080 image shot in an NTSC region. However, which frame rate you intend to shoot at eg 50i / 60i, 25p / 30p etc will certainly make a difference. Most consumer level HD camera's are restricted depending upon the electrical frequency of the market region they are being sold in. If your camera was purchased in a 60Hz ( NTSC ) region then its likely your camera will only support 60i, 30p 24p etc. If its purchased in a 50Hz (PAL) region then it's likely to only support 50i, 25p etc.
    Generally it is only the higher end pro camera's that support switching between systems ... neither the HV20 nor the XH-A1 have this capability.
    Could I rent an HD camera in Europe and shoot stuff with it there and then bring the resulting tapes back here to the U.S. and play them on my U.S.-purchased HD cameras and decks and load it into my current FCP setup in L.A. without any problem?
    Well that would depend on what camera you rented as compared to what your current setup is ... what's your current setup and what do you have in mind to rent?

  • Editing in AVCHD

    I would like to find some in-depth information about shooting and editing in AVCHD.
    There is very little in the FCE User's Guide or what I have been able to find online.
    Any suggestions?
    Thanks.

    What do you want to know? First you should shoot in either 1440x1080 or 1920x1080 at either 60i or 30p.
    Then, connect your camera to the computer. Open FCE and go to +File > Log and Transfer.+ Here FCE will show you a list of the clips you can ingest. Then, click on one to see it in the preview area. Here you can set in and out points, as well as below it add the name of it and any logging information you'd like. Click +Add Clip to Queue,+ and it should appear on the bottom left of the screen with a status bar showing you how long until it finishes ingesting. During this time, FCE is converting it from the AVCHD to a Quicktime Apple Intermediate Codec file that FCE can edit. You can add several clips to the queue at a time, and then just wait for them to be finished ingesting.
    The AIC files FCE creates will be stored in your capture scratch folder. I recommend storing the Capture Scratch folder on an external drive. You can reset the Scratch Disk under +FCE System Settings.+ Once the clips are ingested, close the Log and Transfer window and you will see that the clips have now appeared in the Browser.
    You should now make sure that your sequence settings match your clip settings. Go to +Sequence > Settings > Load Sequence Preset+ and set it to Apple Intermediate Codec 1440x1080i60 or 1920x1080i60, depending on the frame size you are using (this is assuming you are within North America, elsewhere you would use i50 presets). To have the sequences default to this setting, go to +Final Cut Express > Easy Setup+ and choose this AVCHD setting there. Then, in the future any sequences you create will already be set to this preset.
    You can then edit your AVCHD footage just as you would any other Quicktime file. When you are done editing, export to Quicktime Movie for DVD or computer playback or Using Quicktime Conversion for the web.
    Hope this helped,
    Sasha
    P.S. for more information on the Log and Transfer process look over the FCE User Manual pages 220-232.
    Message was edited by: skalicki`

  • Export HD to NTSC Widescreen -- not truly 16:9

    If you export HD footage, 1080x1920 for example, to NTSC Widescreen, you end up with 720x480 with rectangular pixels that have a 1.2121 pixel aspect ratio. That means, the display is effectively 873x480 pixels, which is a a screen aspect ratio of about 16.4:9 instead of 16:9. What you end up with is the original video image squashed between thin, vertical black bars on the right and left sides (not the thick black bars you get when you display a 4:3 video in a 16:9 display).
    If you open the video in an NTSC Widescreen Sequence, you'll see those black bars. The video image does not fill the screen.
    This is easily fixed: change the Scale Width value to 102.3 (uncheck Uniform Scale). That puts the image portion of the clip into the proper aspect ratio (and shoves the black bars off the left and right sides of the screen). But I'd rather change the scale of all the clips in a project.
    Since NTSC has to be 720x480 pixels, if you want to display something at a 16:9 ratio, the pixel aspect ratio should be 1.185 instead of 1.2121.
    Perhaps an Adobe engineer can explain why exporting HD to NTSC Widescreen creates a video with black vertical bars and how a 720x480 (with rectangular pixels with a 1.2121 aspect ratio) clip can be considered as having a 16:9 aspect ratio.
    Thanks,
    Jeff Sengstack

    you have to do your frame aspect ratio calculations based on the image  area (clean aperture) not the production aperture.
    page 4...this link
    http://www.panavision.com/publish/2007/12/10/GenesisFAQs20071207.pdf
    My take on this is that CCD's that are full size for 35mm film ( beginning of aspect ratios for a lot of stuff ) there is less fudging re: transforming a smaller chip size to the correct exact image size, that the image size derrived from the real camera recording may not be exactly the "production" aspect ratio sizes...or something like that... It is confusing to me also, as I have no video cameras, digital or otherwise, and don't shoot anything but still film.
    I think ( not sure but think I read ) that the red camera actually has a CCD "larger" than the genesis, so it actually is capable of recording higher resolutions than typical 4.4.4 production dimensions....but how that works into "clean" image area and aspect ratio is confusing to me also...
    To further confuse me, this article has info on exact number of lines broadcast for pal and ntsc...
    note THIS in the article ===------------------------------------------------------
    NTSC Video
    525 scan lines per frame,  30      frames per second (or be exact, 29.97 fps, 33.37 msec/frame)
    Interlaced, each frame is      divided into 2 fields, 262.5 lines/field
    20 lines reserved for control      information at the beginning of each fieldSo a maximum of 485       lines of visible data
    Basics of Video
    Analog video is represented      as a continuous (time varying) signal.
    Digital video is represented      as a sequence of digital images.
        Types of Color Video Signals
    Component video --      each primary is sent as a separate video signal.
    The primaries can       either be RGB or a luminance-chrominance transformation of them (e.g.,       YIQ, YUV).
    Best color       reproduction
    Requires more       bandwidth and good synchronization of the three components
    Composite video --      color (chrominance) and luminance signals are mixed into a single carrier      wave. Some interference between the two signals is inevitable.
    S-Video (Separated      video, e.g., in S-VHS) -- a compromise between component analog video and      the composite video. It uses two lines, one for luminance and another for      composite chrominance signal.
        Analog Video
    The following figures are from A.M. Tekalp, "Digital video processing", Prentice Hall PTR, 1995, NTSC.
    NTSC Video
    525 scan lines per frame, 30      frames per second (or be exact, 29.97 fps, 33.37 msec/frame)
    Interlaced, each frame is      divided into 2 fields, 262.5 lines/field
    20 lines reserved for control      information at the beginning of each field
    So a maximum of 485       lines of visible data
    Laserdisc and S-VHS       have actual resolution of ~420 lines
    Ordinary TV -- ~320       lines
    Each line takes 63.5      microseconds to scan. Horizontal retrace takes 10 microseconds (with 5      microseconds horizontal synch pulse embedded), so the active line time is      53.5 microseconds.
    Digital Video Rasters
    Color representation:
    NTSC uses YIQ color       model.
    composite = Y + I cos(Fsc       t) + Q sin(Fsc t), where Fsc is the frequency of color subcarrier
    PAL Video
    625 scan lines per frame, 25      frames per second (40 msec/frame)
    Interlaced, each frame is      divided into 2 fields, 312.5 lines/field
    Uses YUV color model
        Digital Video
    Advantages:
    Direct random access       --> good for nonlinear video editing
    No problem for       repeated recording
    No need for blanking       and sync pulse
    Almost all digital video uses      component video
    Chroma Subsampling
    How to decimate for      chrominance?
    4:4:4 --> No chroma      subsampling, each pixel has Y, Cr and Cb values.
    4:2:2 --> Horizontally subsample Cr, Cb signals by a factor of 2.
    4:1:1 --> Horizontally subsampled by a factor of 4.
    4:2:0 --> Subsampled in both the horizontal and vertical dimensions by a factor of 2. Theoretically, the chroma pixel is positioned between the rows and columns as shown in the figure.
    4:1:1 and 4:2:0 are mostly      used in JPEG and MPEG (see Chapter 4).
    CCIR Standards for Digital Video
    (CCIR -- Consultative Committee for International Radio)
                           CCIR 601       CCIR 601         CIF         QCIF
                            525/60         625/50  
                             NTSC         PAL/SECAM      
    Luminance resolution   720 x 485      720 x 576     352 x 288    176 x 144
    Chrominance resolut.   360 x 485      360 x 576     176 x 144     88 x 72
    Color Subsampling        4:2:2          4:2:2         4:2:0        4:2:0
    Fields/sec                60             50            30           30
    Interlacing               Yes            Yes           No           No
    CCIR 601 uses interlaced      scan, so each field only has half as much vertical resolution (e.g., 243      lines in NTSC). The CCIR 601 (NTSC) data rate is ~165 Mbps.
    CIF (Common Intermediate      Format) -- an acceptable temporary standard
    Approximately the VHS       quality
    Uses progressive       (non-interlaced) scan
    Uses NTSC frame rate,       and half the active lines of PAL signals --> To play on existing TVs,       PAL systems need to do frame rate conversion, and NTSC systems need to do       line-number conversion.
    QCIF -- Quarter-CIF
    ATSC Digital Television Standard
    (ATSC -- Advanced Television Systems Committee) The ATSC Digital Television Standard was recommended to be adopted as the Advanced TV broadcasting standard by the FCC Advisory Committee on Advanced Television Service on November 28, 1995. It covers the standard for HDTV (High Definition TV).
    Video Format
    The video scanning formats supported by the ATSC Digital Television Standard are shown in the following table.
    Vertical Lines
    Horizontal   Pixels
    Aspect Ratio
    Picture Rate
    1080
    1920
    16:9
    60I 30P 24P
    720
    1280
    16:9
    60P 30P 24P
    480
    704
    16:9 &   4:3
    60I 60P 30P   24P
    480
    640
    4:3
    60I 60P 30P   24P
    The aspect ratio for HDTV is      16:9 as opposed to 4:3 in NTSC, PAL, and SECAM. (A 33% increase in      horizontal dimension.)
    In the picture rate column,      the "I" means interlaced scan, and the "P" means      progressive (non-interlaced) scan.
    Both NTSC rates and integer      rates are supported (i.e., 60.00, 59.94, 30.00, 29.97, 24.00, and 23.98).
    At 1920 x 1080, 60I (which      CBS and NBC have selected), there will be 1920 x 1080 x 30 = 62.2 millions      pixels per second. Considering 4:2:2 chroma subsampling, each pixel needs      16 bits to represent, the bit rate is 62.2 x 16 = 995 Mb/sec.
    Homepage of the Advanced Television Systems Committee (ATSC)

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