Best frame rate , resolution and shutter speed Canon XF 305 for chromakeying

Hi,
I have to shoot some footage with the Canon XF305 (green screen Chromakeying) And the only progressive frame rates I can choose are ( 25P 1920x1080) or (50Pand 25P 1280x720).
What shutter speed do I have to use?
What will be the best quality choice for keying?! The output will be Vimeo at the end. I have a Xenon 6core 3.2, Memory 24 GIG, GTX580.
Of course I know the best resolution, but I mean the best choices for keying.
It's done in PAL.
Thanks David

A high suhutter speed is improtant for crisp edges, especially if your codec is not frame-based, because your subjects will have little or no motion blur. 125th seocnd at least. faster if you can get it. Requires lots of light. You must not trade off depth of field because focus is critical to good keys, too, and you must not add gain because noise will degrade your key.
bogiesan

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Slow motion and frame rate and shutter speed

I have two cameras that record 60i and three that use 30p. Neither of the 60i cameras has a 30p option (one has a pf30). If I understand how FCPx handles this, if I drop both frame rates into a project, I get 30p out, correct? In effect de-interlacing the 60i footage to 30p. Is it best to import the 30p footage first to set that frame rate so that the 60i gets rendered to 30p?
We're producing a fishing DVD so good quality motion footage is important. This is an instructional DVD so I will be using some retiming to slow footage down to illustrate key points in the instruction.
I've read a lot of stuff on 1080i 60i vs. pf30 vs.30p vs. 24fps and benefits of using 720p vs. 1080i. Also looked at information on slow vs. fast shutter speeds.
So, the bottom line to get the best motion results for the DVD, I should be shooting at best bit rate possible, use 1080i 60i or 30p depending on the camera and let FCPx set everything to 30p. Correct?

For the 1080/60i media, it is best to have FCPX conform it to 30p (29.97p). [30p is a real timing: 30 exact frames per second, but it is not broadcast compliant. 29.97 is quite often simply referred to as 30, just for simplicity and/or laziness. The final decision for which to use rests with you. Also note, like "30 fps", 60 more often refers to 59.94 fps... for the same reasons.]
As for your target being DVD: DVD is always 480 lines whether it is anamorphic (16:9) or standard 4:3. If you would like to have "enhanced" slow motion, my recommendation would be to shoot in 720/60p (which is genuinely progressive "60" frames per second) and will give a slightly better edge on slow motion effects (retiming). That said, FCPX retiming is usually quite good no matter what the frame rate (frame blending recommended over optical flow [which tends to give a "morphing" effect when pushed too far].) 1280x720 frame size will give you plenty of downsampling resolution for DVD as well. [I *believe* that FCPX will use all of the 60fps available from the original video in retiming, even if the frame rate of the project is slower than the original media; so, 720/60p conformed to a 30p project and retimed to 50% will use every frame of the 60p slowed down by half... (somebody correct me if I'm wrong!)]
Best bitrate is also an important feature, but that is not due to the choice of format as much as that provided by the camera itself. Bitrates out of the camera may be relative to the frame size (they are in my consumer camcorders). A common consumer grade camcorder will top out at a bitrate (for 1080) somewhere between 17.5 and 22.5 Mbps, whereas an HD capable DSLR will usually top out at (easily) *twice* as much (45Mbps average from my Canon T4i) or more. Furthermore, the DVD standard imposes framerate restrictions (max is somewhere between 5 and 8Mbps -- the software that creates your DVDs will usually transcode for best bitrate, so not something you really need to bother with - just set the transcoder to best possible quality and provide it with the best quality video that's reasonable.) Whichever camera provides the highest bitrate should be your "main" camera.
As you may have discovered: another factor for a quality video regardless of camera is shutter speed. If you set the shutter speed too high (faster than twice the frame rate) then you will have "stuttering" issues (there will be "gaps" from still frame to still frame). Keep the shutter speed at the same or no more than twice the frame rate: e.g., for 1080/30p (target) the shutter speed should never be more than 1/60th of a second (I'll use 1/30th, 1/40th, or 1/50th usually). I haven't shot a lot of 720/60p, but I think I would still keep the shutter speed at between 1/60th and 1/120th exclusively [that is -- I wouldn't go as high as 1/120th or greater... but that's me... you should experiment for best results for you. If this creates exposure issues, then consider neutral density filters or circular polarizing filters to help bring scenes into exposure range (via aperture or iso or both.)
HTH
Good luck! Have a good shoot!

Frame Rate & Resolution change with synchronized clip

Does anyone know why a Canon 7d file recorded at 1920x1080 29.97fps changes to a 1280x720 23.97fps file when a synchronized clip with a separate audio file is created?
After selecting the synchronized clip in the event browser I can edit the compound clip settings to change back to 1920x1080, but 23.98 is the only framerate selectable. The sync worked beautifully. My import preferences are set to create optimized media - 422 ProRes.

Well, I went to the clip that was mentioned in the source file and selected it to do a frame rate conversion and its source file was correct. I hit cancel and went back to the my desired clip and the time the source file was correct.
Doing a few more conversion the correct source file doesn't always come up correctly, but I just bounce around selecting a few different clips without actually doing the conversions and it eventually fixes itself...
It's just buggy!

What is the best frame rate to shoot/edit with for export to DVD?

Hello, I am going to shoot some instructional martial arts videos that need to be exported to DVD. I haven't exported to DVD since 2005. I am curious what the best frame rate is to shoot with and edit in Premiere to export to DVD. I've read conflicting information online. Some forums say that you can edit in whatever frame rate you want as long as the output is SD, 30i, which seems outdated to me.
I'm shooting on the GH2, so my options are 1080 24p (which has terrible strobiness compared to other cameras at 24p), 1080 60i, 720 60p, and apparently there is an HBR firmware update that allows 1080 30p. I want the motion to be as unstroby as possible, without being too soft. My friend's camera can shoot 1080 60p and I'm considering buying the G6, which also shoots 1080 60p. But I've read online that 60p to DVD looks choppy.
Any advice would be greatly appreciated. Thank you very much.
Jeremy

Thank you Jim. I do have one more question with regards to your advice:
I am putting the new firmware on my GH2 today, so I will be able to capture 1080/30p as opposed to only 1080/60i to edit in the 30p timeline. Is there a reason you would prefer 60i over true 30p at the same res? I've had problems with interlacing in the past never quite going away and getting funky when doing slow motion and other effects.

Is the best frame rate 31fps?

In years past, 31fps was considered the best frame rate, as far as getting the best performance on both Mac and Windows. Has that changed with hardware acceleration? Does the frame rate still mater in getting consistent performance?

I'd say anything beyond 36 - max 40 fps is too much and unneeded. Plus, a higher framerate would be too demanding on CPU resources as flash player needs to redraw the screen as much times as the framerate count. This is the main reason for flash player causing a slow down in system response. Take for instance moviemaking - it has a framerate of 25 fps and this is enough for even the most dynamic scenes. A framerate between 24 and 30 for flash is considered to be smooth enough and at the same time not too much demanding on system resources
Emil Georgiev - Flash & Web Design

I have 1920x1080 files to edit in iMovie to show on large movie screen for charity event what is best frame rate and best save option for quality versus file size?

I shoot a lot of HD video of my kid, and at first I struggled to find a good balance between maintaining the full-resolution original footage and having something a little more reasonable and lightweight to work with. For example, even on my one-year-old iMac, I can't smoothly scrub the full HD video clips in the editor -- but if the clips have been 'optimized' to 960 x 540, they're smooth as butter (and still look good enough for almost every output scenario).
If, when you're importing the original footage, you enable the "Optimize video" checkbox, you'll get the lightweight version in your event library, but you won't get a copy of the orignal footage as well. It'll still be on your camera (or wherever else you put it before heading to iMovie), but that's not very helpful.
If you're using iMovie '09 (v.8) or '11 (v.9), there's a decent way to do this that isn't terribly obvious.
So here's what I do:
When importing the original footage, disable the 'Optimize video' checkbox, and select the 'Move files' radio button. This will move the full HD clip into /[selected volume]/iMovie Events/[event title]. (Or you can use 'Copy files' and get the same end result.)
Select the new event in the Event Library in iMovie, and go to File » Optimize Video » Large -- 960x540 (or 'Full,' which is still going to be more compressed than the original HD, but at the same resolution; I find 'Large' to be just fine for my needs, though).
That second step takes the original HD clip that was in /[selected volume]/iMovie Events/[event title] and moves it into /[selected volume]/iMovie Original Movies/[event title], and then puts the optimized version into /[selected volume]/iMovie Events/[event title].
Now you've got a fully organized directory structure containing all of your original HD footage, sorted by event, plus an Event Library full of nice lightweight versions for quick editing and exporting.

Thanks for that info! Even in my time answering questions on iMovie Discussion Group, I never had a good understanding of when and how Optimize Movie came into play. I always would import as Optimized and Large Size and figured that was good enough. But knowing you got much, much more flexibility doing it the way you describe gives me a much better understanding of the different routes you can take into the Event Library.

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

Best frame rate for shooting motion in 60 interlaced?

Hello,
I'm working with some footage that includes some boats moving quickly. A lot of that was shot close up. I'm amazed at the artifacts that interlaced is producing. Quite frankly you feel you need new glasses when you look at it. Freeze a frame and the horizontal edges of each phase jump out. I have no idea what the shutter speed is in these shots but just wonder if this effect is totally unavoidable shooting interlaced. Possibly my camera was shooting at a very low shutter speed, so that might exagerate these artifacts, but even if I had shot at a very high speed they'd still be there, just perhaps to a lesser degree. Right? So any thoughts on this? Any ideas about the best way to capture motion when shooting interlaced. (This is ten-year old footage, so I suspect I'll have to try and recreate the event shooting progressive this time.)
Thanks.

The newer Flat Panel TVs and DVD players do a great job at de-interlacing.
Digital broadcast @ 1080 is still interlaced. So modern TVs need to be able to handle that.
If you're making standard def DVDs out of 1080 HDV footage you may want to consider de-interlacing when you down convert to 480. And down convert to Pro Rez rather than hdv. You'll have fewer artifacts that way.
You can also learn how to author Blu-ray which will be a better product for your hdv footage.
best,
g

Need Help Determining Least Common Demoninator for Frame Rate, Codec, and Workflow

I need help determining the best timeline setting and Compressor workflow to integrate footage with varying frame rates and codecs that I'm currently upres'ing for a multi-camera concert performance destined for HD broadcast output. I'm assuming the network needs 29.97.
Thus far, I've been working with Apple ProRes Proxy files to create lo-res edits. Now, I've started the task of offlining and ingesting new, HD clips from the proxy references. The content originates from either Panasonic HVX200 or Panasonic GH1 cameras.
Looking at the material, it appears the cameras were not shooting with the same settings and, somehow, a PAL GH1 got into the mix. Some of the performances have the PAL GH1 and other do not.
Here's the breakdown of the varying sources. I got this info from the Log & Transfer columns.
HVX Cameras
Format: 1080p24
Source Format: DVCPRO HD 1080i60
Shooting Rate: 24
Vid Rate: 29.97
TC Format: Non-Drop
GH1 NTSC
Format: 1080i60
Source Format: AVCHD 1080i60
Shooting Rate: 30
Video Rate: 29.97
TC Format: Drop
GH1 PAL
Format: 1080i50
Source Format: AVCHD 1080i50
Shooting Rate: 25
Video Rate: 25
TC Format: Non-Drop
ANOTHER GH1 NTSC
Format: 1080p24
Source Format: AVCHD 1080p24
Shooting Rate: 24
Video Rate: 23.98
TC Format: Non-Drop

Call the TV station/network and get their spec sheet first. You need to know more than frame rate.
Once you have that, you can work backwards to arrive at a workflow.
As a general priniciple, you'll get a more seamless translation of format when you add frames rather than removing them. (eg 24p to 27.97 rather than 29.97 to 24p)
At least all the material starts out in the 1080 world.
Do all your conversions before you start editing. (I'd use ProRes or ProRes LT for the editing codec).
Budget a bunch of time to sync the material or figure out a quick cutting style that minimizes sync drift.
What a nightmare.
x

What is the best frame rate to use for movies watched only on computer scre

Hello all,
I'm UK based, and so use the PAL system of 25 fps. This works well enough if I want to make a DVD, but I'm now starting to work on projects that will only ever be seen on You Tube or Mobile Me - that sort of environment.
A portion of my work features stills, and I prefer to use Photo to Movie for pan, scan, and zoom and rotate - it's much more versatile than Ken Burns in iMovie.
However, I can't seem to get perfectly smooth pans when viewing on a screen. Depending on whether I use 25 fps or 30 fps, the pan is slightly 'trembly'. I've tried all the codecs, different frame rates etc, but I can't seem to remove this problem. A pan created in iMovie is perfectly smooth. Does anyone know why I can't replicate this in Photo to Movie?
I'm starting to suspect it isn't really a frame rate issue, but something else - but there my knowledge runs out.
Can anyone offer advice on this?
Thanks in advance.

For Video projects, use the same frame rate as your source material. If your camcorder shoots PAL use PAL. For photos it should not matter.
I get a whole lot more control over Ken Burns in iMovie. I always thought that iPhoto was just kind of random with no control.
I guess I'll have to go back and look at it. In iMovie 09 and before, iMovie did not handle vertically oriented photos very well for Ken Burns. This is fixed in iMovie 11.
Message was edited by: AppleMan1958

Two timecode stripes at different frame rates? (and other BITC stuff)

I'm not an FCP user, but I'm working with an editor who's not that up on the finer points of FCP operation. Would like to know if certain things are possible...
1a. Is it possible for FCP to simultaneously output a QT file with two different BITC stripes running at different frame rates (say, 29.97 fps and 23.976fps)? Or...
1b. For an already BITC'd work print (striped with 23.976 timecode) is it possible to add a second stripe at 29.97 fps, synchronized from the 1-hour mark (first frame of picture)?
2. Are there any parameters available in FCP to adjust the size of the numbers and the position of a timecode stripe?
3. BONUS QUESTION: what does the "R" in "TCR" mean? (just curious -- I've seen this for years but never knew what the "R" stood for).
Message was edited by: iSchwartz

iSchwarz!
Welcome to the visual side of things. Never thought I'd see you venture out of Soundtrack Pro and Logic land, glad to see you here.
3. R stand for Reader. TimeCodeReader. G will stand for Generator. TimeCodeGenerator
2. You mean adjust the TCR window? If you drop the filter on a clip, load that clip into the viewer, you can adjust the filter parameters there.
1b. BITC? There are 2 type of timecode that I'm aware of: VTC (or ViTC)(Vertical Interval Timecode) and LTC (Longitudinal Timecode). I seriously doubt this as then FCP would have to use to different timebases within the same sequence.
1a. Again, I seriously doubt this do to the different timebases.
You could print to tape this 23.976 fps sequence which FCP would add the pulldown resulting in 29.97 fps timecode and then import that. Or, maybe Compressor can add the pulldown and export a file wtih 29.97 fps timecode. Don't know, never needed to try that.
Good luck, report back with your findings.
Zeb

Frame rate issue and interlacing problems

i am going to close a project created from others and when exported the final at source setting, 422 pro I ve got I guess some interlacing problem, horizontal lines.the project had this problems, clips at 29,97 but project is at 25 i
now considering that final target is a standard DVD and project is in 1080, what is the best way to export and to solve this issue? sending project to Compressor and there using the slowest and the best setting for dvd's?

There may not be a problem with your project if delivery is DVD. Computers do not display interlaced at all well. Output to DVD and test with a DVD player>TV. It should be fine.
Russ

Iso, Shutter Speed, Aperture, White balance for music videos or film?

Hello everyone. I just started making music videos. I just want some tips or can someone direct me to a good guide for music videos. I know the basics of iso, shutter speed, and aperture already. I read some guides and so far I know I gotta put my shutter at 1/50 or if i'm recording something at high speed, i increase it. is it so? Also, I always put my aperture at the lowest. I have a Canon T2i and Canon lenses 50 f/1.8 and kit lens. I always put my aperture at the lowest 3.5(kit lens) or 1.8. The tricky part is the ISO. I don't know where to put my ISO. I know the lowest ISO is good but sometimes the video looks dark. Do I fix this in video editing programs? Like should I always stay at ISO 100? What about white balance? I use Final Cut 7.
Also, what about during the day and night? Indoors? etc I also have a cheap LED lights.

your questions are about the very basics of photography.
I would consider to buy a book, which explains photography 'from the ground' ("... for dummies.." not meant as an offence!)
in short:
a scenery offers a defined amount of light.
Your cameras 'film' aka sensor, needs a defined amount of light to deliver a picture.
So, on recoprding, you have to control the amount of light, and the controls are:
aperture - opened or closed
shutter - shorter or longer
speed (ISO) - higher or lower.
Imagine the light as a stream of tiny balls, coming from your scenery: a bigger hole = aperture lets more balls into the cam. A shorter shutter speed reduces the amount of balls. And a higher ISO catches more balls than a lower. ..
Understanding that, you realize that those parameters are crosswise-related: an open aperture + a shorter shutter speed results in the same amount of light on the sensor as a closed aperture and a longer shutter speed.
If the amount of light is still too much, lower the sensitivity = ISO.
If the amount of light is too little, open the aperture, or use a longer shutter speed or raise the sensitivity.
When you set one or two parameters in this equation, you have to adjust the other ones: Video-makers start with the shutter speed, usually set to 1/2 of frame-rate = 1/50 - 1/60 - why? Because it allows a nice looking 'smear' aka motion-blur aka 'film look'.
Now, with a given speed, you can conrtol teh amount of light for the sensor only by aparture; and when you reach limits, by setting ISO.
When you understood this BY PRACTICING, you're next step is the concept of 'shallow focus'/depth of field. And when you understood this BY PRACTICING, you'll will understand the need of Neutral Densitity Filters for movie-makers...
But first things first: buy a book; read your cam's amnual; practice the settings and watch carefully the different results, diff. settings result.
... and it's really just about basics - independently of your device and/or your software.
None of the things mentioned above can be done or 'fixed' in post... (basically...)
happy movie making!

Setting shutter speed to 1/2000 for concert photos.

Hi -
I've been unable to figure out how to get a static 1/2000 shutter speed for concert photos, so that I can capture high quality photos while people are in motion on the PowerShot A2500. If I am unable to set it to a static 1/2000, please let me know the settings I should have it at so that it will automatically adjust it to 1/2000 or at least something higher than say 1/200, since speeds lower than that are blurry.
Thanks a lot!

Basically (from what I read in the specs) you CAN'T. That camera looks to be marketed for simple point & shoot use. You need one that offers MANUAL control over the primary functions such as Tv or Av (Time Value AKA shutter speed or Aperture). Like it or not you are trying to capture decent results under very difficult conditions with the wrong tool.
It can shoot at 1/2000 but it won't unless it's a VERY bright scene. The most you can do is select the highest ISO it allows & live with the noisy images.
"A skill is developed through constant practice with a passion to improve, not bought."

Any ideas what resolution and size images I should ask for advertisers?

I plan to work on iPad android and PDF interactive.
What resolution and size images should I ask to advertisers?
And video size as well.
Would be full page, half page, 2/6 page, 1/6 page.
Anyone has experience in this?
Thanks !!

Thanks I already put practical approach to the situation:
I noticed when an image with a size 1024 x 768 pix at 72 dpi was used to make a folio, the resolution result was bad.
What turned workable was to ask for full page: 13.5 width by 17.5 height in inches (and yeah with 72 DPI), then when adding the image to the folio the quality is very good.
The rest of the sizes were the result of using percentages with the basis 13.5x17.5 inches

Best frame rate , resolution and shutter speed Canon XF 305 for chromakeying

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