Still confused: Should I shoot HD in 30p or 60i ?

I know this has been discussed at length and I apologize if I missed it, but I'm not sure there was ever a consensus on the answer.
With my Canon Vixia HV30, I have the option to choose 1080p30 instead of the 1080i60 default. Assuming I'll be processing my video in iMovie more often than displaying directly from the camera (which looks fantastic but is limited to raw footage), am I better off choosing 30p? I'm guessing that would eliminate the need to de-interlace my raw footage to avoid the field-drop issue? Any downsides to choosing 30p?

Wayne Henderson wrote:
... is this a personal opinion and a matter of taste or have most folks here settled on 30p as a better route? I know this is re-opening an old debate, but I wasn't there the first time.
don't worry, this debate will never end.
a) i was meant for arial-broadcasting, displayed on tubes. actually, any 'flatscreen' isn't able to display i - there's some pound of electronics needed, to 'add' the two fields into a p-picture on display...-
b) actual cameras don't read-out the 'chip' in i but p ... there's some pound of electronics needed, to 'create' the two fields in the recording
c) any fast motion (and actual aesthetics add motion even to a stone) creates non-identically fields, which, when combined on any actual display, create jitter, steps, lines .. there's some pound of electronics needed, to eliminate this unwanted side-effect ...
d) iMovie09 handles p without problems, i can cause probs.
e) my cam handles 720p only
f) I like the 'blurred' look of long-speed (1/30th), p 'filmed' video ... look my two YT-demos in this thread http://discussions.apple.com/message.jspa?messageID=11298695#11298695
g) ... / list to be continued /

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Shoot and edit 50i or 60i for final transfer to film?

Hello:
I'm sure this is an often asked question but...
I am shooting a short film that hopefully will have a film transfer for the festival circuit. The short may become integrated into a feature length project if feedback for the short is positive.
I am shooting with a Sony HVR-Z1U in the HDV mode(audio recorded to DAT) so, given that I hope to eventually transfer to film should I shoot at 50i (PAL) or 60i (NTSC)?
I have already been warned off using the cineframe/film-look modes.
I intend to edit in the ProRes format on FCP.
All thoughts and suggestions welcome.
A

Hi,
you can start reading at this section of the online documentation:
http://documentation.apple.com/en/finalcutpro/usermanual/index.html#chapter=91%2 6section=7
Regards,
Armando.

Panasonic DVX100 (original) should I shoot in 24p or 30p?

Hey,
Working on my first feature and will be editing in Final Cut Express HD 3.5. Want our dailies to look progressive scan and filmic should I shoot and edit in 30p?
Chris

I know for the most part you want progressive
That's not necessarily true. For Blu-ray or DVD delivery, 30i would be the better option over 30p or 60p, as 30i can go onto disk "as-is", without any frame rate conversions.
I think the choice on this is purely aesthetic. Do you want the look of film (24p) or the look of video (30i)?
Personally, I shoot everything at 24 fps these days.

Should I shoot RAW or JPG and what ratio should I pick when shooting stills?

I want to take artistic pictures. Does that mean I should shoot RAW and then deal with the settings in Photoshop? I realize I can't for the corporate photo contest because I am not allowed to Photoshop anything for the contest. And pictures at a party that I intend to share or immediately upload, I understand why I would not shoot RAW.
Are there other reasons not to do so?
Many of you know me. I have been shooting video for a while and I am just now starting to shoot stills. These are tough questions for me.
I always assumed I would shoot stills using the maximum frame size possible. However, I have other choices.
When the aspect ratio setting is [4:3]
4608x3456 pixels, 3264x2448 pixels, 2336x1752 pixels
When the aspect ratio setting is [3:2]
4608x3072 pixels, 3264x2176 pixels, 2336x1560 pixels
When the aspect ratio setting is [16:9]
4608x2592 pixels, 3264x1840 pixels, 1920x1080 pixels
When the aspect ratio setting is [1:1 ]
3456x3456 pixels, 2448x2448 pixels, 1744x1744 pixels
Now, to be honest, I can't think of a reason to shoot stills at any size other than the 4:3 based 4608x3456 except to save room on the memory card. But I figured I should probably ask just in case I am missing something. Storage is not an issue as far as I can tell at this time. I bought two 64GB cards and I will be able to use part of my 16GB Smartphone memory card for additional storage should the need arise. Most likely I will have plenty of room until I can copy over to my laptop and then on to an external drive.
For reference: http://www.herviewphotography.com/2012/06/18/raw-vs-jpg-file-formats.html

Steven,
You are correct, that you should not shoot the Holiday Party pics in RAW, as they will only be used to blackmail your boss, and co-workers, so JPEG would be adequate for that (unless you really need to do Photoshop work, to make the images more "compromising... ").
Now, shooting in Camera RAW has several advantages, and really only two disadvantages, that I can think of.
Camera RAW captures everything that the sensor can, but it is in unprocessed form (one of the disadvantages), and then Photoshop with the ACR (Adobe Camera RAW) can "process" your images. I do this, when I have real use for the Images. I have developed a Preset for my Nikon Camera RAW, for each camera, so it's fairly easy to batch process. I always Save_As PSD, since I will very likely do additional work (not useful for the company competition, but CAN be useful for those black-mail pictures, if you have much "work" to do).
I Save my NEF's (Nikon Camera RAW) Images, and then, in a separate folder, my processed PSD's. Those are sort of like duplicate transparencies, but with slightly different data in each. From the first, the NEF's, I could always run them through ACR again, should something happen to my PSD's. The reverse is not true, but at least I would have my PSD's.
For use in Video, I will almost always Open my PSD's, and Scale them, plus possibly do other Image-editing, per my needs. As I shoot at max. resolution (~ 4000 x 3000), I will be Scaling, and then likely Cropping (as most Projects now, are 16:9). If you do any 4:3 Projects, then you are already there, save for the Square Pixel vs Rectangular Pixel issue, but if you Scale the 4:3 material to 640 x 480 Square, it should look just fine in a 4:3 PAR=0.9 Project's Frame.
In camera, I always try to mentally compose the Images into 16:9 horizontal, if I see the potential for Video use. It's like keeping 11 x 17 in the back of my mind, when shooting for potential double-truck magazine use. [Back in film days, I made several Nikon screens, to fit various common uses.]
Though PrPro CS 6 (as of CS 5), with full CUDA/MPE support, can do a great job of Scaling, I still use my PS Actions to batch process entire folders, and usually on Bicubic Sharper, though for some subjects, I choose Bicubic Smoother. This means that I am not "pushing around" a bunch of unused pixels. I Crop each Image, and then Scale it, with the Action, to match the Frame Size of the Project.
Now, back to RAW. That allows you the full capture from the sensor, so you have everything to work with. I shoot in 16-bit, for as much data, as I can get. One step in the process, but usually well after the ARC processing, and Saving_As PSD, will be the conversion to 8-bit Mode, but only after ALL of my processing, as PrPro cannot use 16-bit Bit-Depth, for Video.
For just general shooting (usually "happy-snaps"), with no inteneded high-rez printing, or Video use, I will shoot JPEG, at the highest quality setting (lowest compression), and be done with it.
One disatvantage of Camera RAW is the write time to the card, but with newer cameras, and faster cards, that is less of a problem, than it once was. Still, even high-rez JPEG's, though they do require in-camera processing to JPEG, will allow one to shoot more quickly. [That can be very important with those Holiday Party pics, as who knows what will happen in the next nanosecond?]
To me, Camera RAW is sort of like standing in front of a photograph, with my entire set of cameras. I ask, "Is this really a great shot?" If so, out comes the 4 x 5. If the answer is "maybe," then I grab a Hassleblad. If the answer is "no, but it IS interesting," then the 35mm is my choice. Sort of the same thing, but instead of cameras, it's RAW vs High-rez JPEG.
Just some thoughts.
Hunt
[Edit] PS - what the linked article said.

HT4504 I'm still confused. If I am in California and make a plane reservation NYC to San Francisco, departing at 8 am New York time, and I want iCal, once I get to New York, to still tell me the plane leaves at 8 am, should I set TZS on or off?

I'm still confused. If I am in California and make a plane reservation NYC to San Francisco, departing at 8 am New York time, and I want iCal, once I get to New York, to still tell me the plane leaves at 8 am, should I set Time Zone Support on or off? In other words, when I enter a time for an event, I never want iCal to change the time as I have entered it.

Hi,
You should have timezone support off to get events to stay in "floating time". I'm not sure what will happen to the events with timezone data already if you turn it off. I would expect iCal to make some attempt to resolve events in different timezones, that is not probably not what you want.
IMO the only logical thing is if you travel though timezones is to set the timezone and time of the event to the place and time it actiually is, but you say you will not.
Best wishes
John M

What frame rate should I shoot?

This has been a nagging question I need to get answered. I have a JVC 700U and shoot football highlites and put the hour long show on the web. I would like to keep the file size as small as possible for obvious reasons but still maintain quality. I have been shooting in 720p 60 then editing in a 29.97 timeline. The 29.97 timeline keeps the exported H.264 smaller than the 59.94 timeline would. Should I keep the timeline 59.94? Should I make the timeline 30p instead of 29.97? Also, what about shooting in 30p since my timeline is 29.97? (or 30p) As you can tell, I am very confused and just looking for the best combo? The camera does not offer 29.97 or 59.94 data rate.
Any thoughts would be greatly appreciated. www.northcoastgameoftheweek.com
Best.
Tom

Should I keep the timeline 59.94?
You can if you want. Using a 29.97 timeline allows you to conform the 60p media to make slomo.
Should I make the timeline 30p instead of 29.97?
No.
Also, what about shooting in 30p since my timeline is 29.97?
30p is 29.97 with segmented frames. I don't like it as a format.

Should I shoot in HD or SD?

This question comes up from time to time in this and other forums. Clearly, the answer would be to shoot in HD if the final result will be delivered in HD. But what if the final result will be delivered in SD, such as DVD? Does it still make sense to shoot in HD, or will the results not be worth the extra hassle? Here we enter a sort of gray area.
As a general rule, conversion introduces artifacts, whether you're converting from 35mm film to DVD, or from HD to Flash for the web, or even from DV to DVD, the process of converting introduces certain artifacts. This is just a fact of life we can't yet avoid. So the ideal scene is to convert as little as possible. If you shoot in SD for DVD delivery, there is at least the one conversion step that can't be avoided. After all, DVDs will only take MPEG video. But if you shoot in HD for DVD delivery, you need two conversions, one to go from the HD resolution down to the SD resolution, and another to the required MPEG video for DVD. (Whether or not this can be done in a single step is incidental, two conversions are taking place - the resolution change, and the MPEG encoding.)
This brings us to our question. If shooting in HD adds a second conversion step to the process, thus adding more opportunity for artifacts, is it's greater source resolution really worth it? Some say yes, other don't know, I'm not convinced.
So here I suggest a game of sorts, and here are the rules:
1) Same scene shot twice, once in SD, once in HD.
2) Same camera, same lens both times.
3) Both shot in the video norm of 30i. (24p and 30p might also make good tests, but would be separate tests.)
4) Both imported into an appropriate Premiere project. No editing or other manipulation should be done at this point, the idea is to keep things as pristine as possible. A second test after doing some editing would make for another good comparison.
5) Both exported out of Premiere as MPEG2-DVD 30i files which can be used for authoring a normal 30i DVD, uploaded to whatever file sharing site one prefers. I suggest
FlyUpload because you don't have to 'sign up' to use their service, but there are others as well. Files should be named without any indication of which was which, so testers have no preconceived bias.
5a) Those still working in CS3 may also add an hd2sd (script from Dan Issacs) version for comparison, but also as 30i with the same final encoding settings to keep things as level as possible.
6) Once the files are uploaded and links posted, readers in this forum can download the files, burn their own DVDs and watch on their own TVs. I recommend a variety of such tests, DVD on a CRT, DVD on an HD set, DVD played back on a Blu-ray, etc., then come back here and post our observations. Those who take the time to do the work of shooting, processing and uploading should wait a bit for several users to post observations before listing which version was which.
So there it is folks. Anyone care to play?

Dan,
>his love of the "film look"
And you are all the way innocent :)
Back to topic.
I may have misjudged what Bill showed in his link. For my excuse I could say, oh it was web format. The thing is though that I have several times seen the end product bringing something from the source, also when the end product is video for web. The overall look made in the camera (no matter SD or HD) is more important than pixels in most cases, unless of course one wants to use a BIG screen.
Even more back to topic.
I think Jim has a good question (wanted test). That's because the few times I have worked with HDV/AVCHD, I have been surprised seeing how little of the "extra pixels" in HD that makes a difference in the end product.
And, I have done one test myself that showed me pretty clearly that I should shoot in SD instead of HD. I filmed a mobile-phone (cellular, or whatever you call it) and the end product's (flash video) pixel-size was set. Trying to shoot HD and resize to the set pixel-size did NOT turn out well at all. I didn't try Dan/Jim/Jeff's method because deadline and budget didn't allow that.
Just to shoot SD, adjusting zoom/distance on the camera so that cropping to correct size didn't involve resize of the footage gave me the best and quickest results.
Anyone who has dealt with one pixel sized text will probably take my point here. Don't resize, shoot (or screen capture for that sake) at the size the end video is going to be!
Of course I could have zoomed the HD camera so I didn't need resizing (just cropping off everything I didn't need), but then I just don't see the point of having to deal with HDV.
Now, I know that filming displays may not be the "usual" thing to do, but still, that is one example where "biggest" (meaning pixels) not give anything extra, and rather make more problems.
I have seen a lot HDV/AVCHD footage that just don't have the same feel as my PD-150 (PS! I normally use low sharpness in the camera setting. That's one thing better adjusted in post). Then it's just don't matter for me how many pixels I look at.
The end product's quality, meaning what people are looking at, that's what going to be judged. And then again, Jim has a good question, is it always needed to "shoot big".
I would like to see the same test as Jim describes (and I regret I didn't have the time to do it myself last time I had a HDV camera in my hand (which could do both SD and HDV)).
Would it be bad for anybody to see that test coming through?
Dag

What Color Space Should I Shoot In.

First, I'll admit that the entire color management aspect of photography/monitors/printing, is a bit too dense for me to completely comprehend. However, I do have some working knowledge of it. So, here's my pre-LR setup.
I shoot in sRGB and used Photoshop Elements or RSE or DPP to process the RAW or JPG shots. I export in sRGB and do not allow the printer to Color Manage (I use Windows, BTW) If I send to a lab, I do not use any ICC profiles, as I cannot soft proof, so I let the lab use their profiles. My monitor is calibrated using a Pantone Heuy (I know, not as sophisticated as a Spyder, but what I see on the screen matches what I shot, so I'm happy with it.
Now. I will be using LR exclusively for processing my photos. What should I set my camera to? I can use AdobeRGB or sRGB. I realize that LR uses ProPhoto, so I'm not sure where my shooting choice adds or subtracts from the equationand I'm still not sure what settings to print in. I can easily try to let LR translate or manage my file when sending to my home printer. How should I prepare a photo for sending to a lab?
What should I shoot in?
Should I do anything to the LR color space I work in?
What should I do, in regards to color space for printing?
Thaks,
Steven (the confused)

Thanks, Ian. For some unknown reason, I had some time ago set up my user name as one of my e-mail addies, and then when I became active on the LR forums, was too occupied to deal with it, until I learned it was easier than pie. And much easier than pi. 3.414x, no?
I'm leaving in an altered non-robotical-vulnerable format for a bit, so that those that knew me as the E-mail address, or McPhotoman in the beta forum can either listen to what I say, or avoid my postings.... Cheers.

When I rest my mobile I try to restore from iCloud backup but I got a message saying the service unavailable .I am doing this from 2 days and the Broblem still what should I do ?

When I rest my mobile I try to restore from iCloud backup but I got a message saying the service unavailable .I am doing this from 2 days and the Broblem still what should I do ?
<Email Edited by Host>

Go to System Preferences/Accounts
Click on your name
Select 'Allow user to administer this computer'

HT201342 I'm still confuse with this iCloud mail. I have 2 device which is iPhone and iPad, why every time I receive a mail from my iPhone it doesn't show on my iPad? Can you maybe help me out here thank you

I'm still confuse with this iCloud mail. I have 2 device which is iPhone and iPad, why every time I receive a mail from my iPhone it doesn't show on my iPad? Can you maybe help me out here thank you

The iphone and ipad must be connected to the same icloud account. Are you by chance using different IDs to connect from each device?

HT3743 Hi dear, please can you help because when I do restoring for my iphone 3g 16gb it still gives an erorr (1015). I am still confused regarding to this topic

Hi dear, please can you help because when I do restoring for my iphone 3g 16gb it still gives an erorr (1015). I am still confused regarding to this topic

i need to fix error code 1015 for my iphone3G 16gb

Printable iTunes & still confused about cd artwork

Hiya,
Is there a way to have iTunes print out all of the info for the cds I have in it? Mainly artist and album title. It'd save filing them into something like Excel for my records.
Also, I'm still confused about the artwork iTunes plugs in for my cds. Either it doesn't have the artwork or its wrong. I know I can delete it, but replacing it is what I can't figure out. I was told to drag and drop it into the artwork viewer, but drag and drop it from where? The iTunes music store? My own file (which I tried and it doesn't work)? I tried opening two windows of iTunes to try the drag/drop, but that doesn't work either.
One last thing, I don't like the new back-up feature of burning cds of my catalog, instead I copy the entire thing onto an external hard drive. Is there an easier way to do this? I know I have to save all of the iTunes info so that my playlists still show up, but when all I mainly need to do is save any new music & playlists I find it takes so long because I have to end up re-saving everything (and at over 11k songs, that takes a while). Any suggestions to help speed up the process?
Always grateful,
Tony Adams

The iTunes method isn't obsolete for everybody, but it's something you don't need to worry about unless you were already using it or you want to exchange data belonging to apps that do not (yet) support iCloud.
Being able to flag one of your own responses as helpful or as a solution may seem strange, but it has a possible useful application. If you found a clue or an answer in another venue and returned here to report it, you could flag your report as helpful or a solution to give credit to the other venue or the person who entered it there. You aren't supposed to be able to give yourself points, though.

30p or 60i

I am hoping that someone can give me a quick lesson on the (dis)advantages of shooting 30p or 60i, using a canon HF100 (HD). I understand this will be very subjective, and i will be doing my own tests. But I would like to understand the basic concept to begin my testing.
I will eventually be putting these videos on the web. The subject material will primarily be live music performance, but in a recording studio - so the environment is controlled.
Since the camera records at 1080i - is the 30p simply a trick to make it 'look' progressive - and if so, are there detriments to the process? Is it something that should be done in the conversion? Obviously, I want to film, convert and output in the best quality possible.
Also, does anyone have an opinion on whether it's best to transfer using ProRes or use Toast to convert the data to another format (DVPro???) before I bring it into FCP? Is the HQ vs. standard based on the data - or a preference/file size issue?
Thanks in advance.

If you're aiming for the Web, then go 30p. Movement looks much better with progressive.
It's not that subjective, actually. Check out this animation:
http://en.wikipedia.org/wiki/Interlace#Problemscaused_byinterlacing
1080i30p is true progressive embedded in an "interlaced" stream.
You should be able convert it to ProRes in the Log and Transfer window.
HQ files will be bigger, but HQ is probably not necessary unless you plan
on doing lots of effects and color-correction.
Have fun!

30p or 60i conversion to 24p...

i am making a section for a mountain bike movie for one of my friends...i will be able to film it on my camera in eithere 30p or 60i... well the company i will be sending the segment too wants everything in 24p because it will be mixed in with some 16mm footage and other 24p footage (dvx100b) sooo is there a way to convert it in final cut pro? or a stand alone app i can get for mac to do this?
thanks.

As Jerry said, better to get a camera that does 24P. If that is impossible, I'd go for Nattress Film Effects - http://nattress.com - and shoot 60i.
But my true second choice would be to shoot it at 30P and edit it into a 29.97 timeline along with the 16mm footage as it will have been transfered with a pulldown. I think that would give you the best results. I honestly think that 30P will give you a better temporal resolution for activity like mountain biking than mock 24P...
Patrick

What is DHCP? I'm still confused about setting up Airport Extreme

I still unfortunately an confused by this:
No problem. I certainly understand. Again the key is only the device directly connected to the modem should be configured to provide the PPPoE credentials ... and (again) if the G5 was configured to do so, it would now have to be the AEBSn. In turn, the G5 would need to be reconfigured for "Using DHCP."
I don't know how to reconfigure my G5 and I'm afraid to do so. And, I don't know what DHCP is?
What you were saying is that I have to configure my Airport Extreme to the same settings that are now on this G5 and change the G5 settings to DHCP.
Sorry to be a bother. I just returned from a long trip and am getting ready to install the Airport Extreme. Would the software we simple enough for me to understand and just follow the instructions that Apple supplies?

lucin wrote:
Again the key is only the device directly connected to the modem should be configured to provide the PPPoE credentials
Older DSL modem require that the device connected to them supply the PPPoE sign-on information. However, I've seen DSL modems that can store and supply PPPoE sign-on information so that the device connected to them doesn't need to.
... and (again) if the G5 was configured to do so, it would now have to be the AEBSn. In turn, the G5 would need to be reconfigured for "Using DHCP."
I don't know how to reconfigure my G5
Like you just stated: "Using DHCP".
I don't know what DHCP is?
DHCP is "Dynamic Host Configuration Protocol". It's intended to provide an Internet client with all the information (IP address, etc.) that it needs.
What you were saying is that I have to configure my Airport Extreme to the same settings that are now on this G5 and change the G5 settings to DHCP.
Yes.
Your post strikes me as a reply to another message that's not in this thread. If you intended to continue another discussion, you should have done a "reply" to a message in that discussion.

Still confused: Should I shoot HD in 30p or 60i ?

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