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January 15th, 2008, 09:16 PM | #1 |
Regular Crew
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HVX footage on the Web/DVD - not smooth
I've been posting up some footage to the web and DVD, shot with a mix of 1080i and 720p 24, and am getting not so smooth footage. It's a little jerky. Is there something I am missing in the shooting, authoring, and editing process? I'm cutting with an Avid (the footage looks great there) and compressing with Sorenson and Sonic. All these products have worked great, but a little concerned about final quality with the HD footage.
Any ideas? Thanks! Michael |
January 16th, 2008, 12:40 AM | #2 |
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upon transcoding stage, you will have to choose the right frame controlling scheme to convert 24frame to other frame format, such as 60i, otherwise it will get jerky.
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January 16th, 2008, 03:53 PM | #3 |
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Is the 1080i footage as jerky as the 720/24p? I always think 24/25p is not really smooth. I can't explain what the difference to film is, but it doesn't look good.
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January 16th, 2008, 10:08 PM | #4 |
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Heiko,
Michael shot footage with 24p, then converted the product using Sorenson and Sonic to put it on DVD, which means SD video and probably not 24p format, and I guessed that some frame control scheme didn't work out well. If it is in Compressor 2 by Apple, there's a option to convert 24p into 60i format without much juddering. |
April 10th, 2008, 11:44 AM | #5 |
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I am using Avid and Sorenson on a PC. I did finally find a way in Sorenson to change the frame rate for mpeg encoding to DVD.
As to camera work, I understand that shutter speed can play into some of the smoothness. Is this true? I filmed in 24p, usually with a shutter speed of 1/24 to allow more light in some in door areas. Will that smooth some of the footage? |
April 20th, 2008, 05:33 AM | #6 |
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Hi take a look at the clips we posted during NAB at www.panasonic.com/NAB. There are a combination of 24P clips and 60P clips dependent on the side of the workflow stage they were done on. I think they all look pretty terrific. It is finding the right size for the frame and the right amount of time for the preload. We had to strategize the compression because the 60Ps took more than twice the amount of time versus the 24Ps. And we really didn't have much of a choice there, we had to do 60 for the broadcast side and 24P for the production side. The 60Ps came off of the Avid system.
Hope this helps, Jan
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Jan Crittenden Livingston Panasonic Solutions Company, Product Manager for 3D and Handheld Cameras |
April 23rd, 2008, 08:11 AM | #7 | |
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