HD Resolution, Formats and Files

www.ifss.edu.au www.ifssproduction.net What is HD?

High Definition is a Standardized set of Frame Sizes HD 1920x1080 Square Pixels

1280x720 (known as ‘720’) HD 1280x720 Square Pixels 1920x1080 (known as ‘1080’)

HD relates only to Resolution. 1024x576 Square pixels SD DV PAL Widescreen (720x576 @ 1.422:1 PAR) Compression, File Type and can vary widely between HD formats. Frame Rates

30p is almost always 29.97fps to match the American NTSC 720 = format.

60p, 30p, 50p, 25p, 24p 24p (matching traditional film 24fps) is popular in NTSC countries to avoid the the look of 29.97fps. 1080 = In PAL countries 25p and 24p are 60i, 50i, 30p, 25p, 24p visually identical so 24p is rarely used.

50p frame rate is possible in some cameras for lower motion-blur images. Interlaced vs Progressive

Interlacing artifacts can be avoided if 50i material is handled correctly and shot well. HD Shooting Formats

AVCHD - Consumer HD cameras

AVC-Intra - Panasonic professional HD cameras

HDV - Wide range of HD cameras from; , Canon, JVC

DVCProHD - Panasonic professional HD cameras

XDCAM EX - Sony solid-state professional cameras

XDCAM - Sony shoulder-mount professional cameras using recordable discs

HDCAM-SR - Sony high-end cameras HDV Spec - anamorphic

HDV = 1440x1080 @ 1.333:1 PAR

1440 (x1.333:1) = 1920 HDV Spec - compression

MPEG2 compression

Long Group of Pictures (GOP)

4:2:0 colour sub-sampling

8bit

720p

1080i HDV Spec

MPEG2 compression

Long Group of Pictures (GOP)

4:2:0 colour sub-sampling

8bit

720p

1080i HDV Spec

MPEG2 compression

Long Group of Pictures (GOP)

4:2:0 colour sub-sampling

8bit

720p = 19mbps - 9gb/hour

1080i = 25mbps - 12gb/hour

HDV creates files the same data size as DV but with up to twice the horizontal resolution Lossless Intermediate HD

Transcoding from Source format to Intermediate Format

The visual quality of uncompressed without the file-size

Lossless compression

Multi-generation

Greater quality precision

More efficient editing performance Intermediate Workflow

Acquisition Source Transcode Lossless Intermediate Export Lossless Archive Export Lossy (HDV) (ProRess422) (ProRess422 or Uncompressed) (H264, DVD)

SHOOT EDIT MASTER DELIVER HDV vs ProRes

HDV ProRes 4:2:2

Lossy Acquisition Codec Lossless Intermediate codec

8bit 10bit

4:2:0 colour sampling 4:2:2 colour sampling

Long GOP Intra-Frame compression (I-frames only)

1280x720 = 9gb/hour approx 1280x720 = 40gb/hour approx

1920x1080 = 12gb/hour approx 1920x1080 = 80gb/hour approx 8bit vs 10bit 8bit vs 10bit ProRes422

Pros: - Better for colour grading and FX. - Better real-time performance when using FX. - More robust and accurate format. - Can be re-rendered and exported without loss. - Can be used in any QT based software (so long as FCP is installed on that computer or the decoder is installed) - Capture direct to ProRes in which transcodes the source HDV to ProRes on-the-fly.

Cons: - Much bigger file sizes (approx 1gb/min) - No tape ‘Logging’, Manual capture only. Matted 16:9

1.78:1 16:9 Matteing 16:9

1.85:1 2.35:1