24p or 30p for internet?

[Chamber005]

So I'm shooting some video for web-based viewing. Just trying to figure out which frame rate is best. I'm going to be posting to YouTube, Vimeo, Exposure Room as wel as posting video to my own site.

I believe Vimeo prefers 24p while YouTube prefers 30p. Is that right?


Thanks!!

 

[vic777]

So I'm shooting some video for web-based viewing. Just trying to figure out which frame rate is best. I'm going to be posting to YouTube, Vimeo, Exposure Room as wel as posting video to my own site.

I believe Vimeo prefers 24p while YouTube prefers 30p. Is that right?


Thanks!!

Why would Vimeo prefer 24p (which is still 60fps it is a 2:3 pulldown isn't it?)... unless you are going to transfer to film ... why shoot 24p

 

[Barry_Green]

Shooting 24p has nothing to do with transferring to film. In fact, pretty much every professional camcorder on the market today, and many consumer models, all allow 24p shooting -- and I guarantee you 99.9999% of what's shot on those will never end up transferred to film.

24p makes the footage look more like you'd shot it on film. That's why it's popular.

 

[PerroneFord]

Agree 100% with Barry. Also 24p allows for a longer film to be uploaded in the same data space, or allows for a better encode rate to be used in the same data space. It can really make a difference in some cases.

Vimeo doesn't "prefer" 24p, Vimeo doesn't deliver 30p in HD at all. So if you want your HD videos to play on Vimeo, they WILL be 24p. Either because you made them that way, or because they converted it to 24p.

 

[PerroneFord]

Why would Vimeo prefer 24p (which is still 60fps it is a 2:3 pulldown isn't it?)... unless you are going to transfer to film ... why shoot 24p

Not necessarily. Some cameras can shoot real 24p so it does make a difference.

 

[vic777]

Shooting 24p has nothing to do with transferring to film.

If you were going to transfer to film ... what frame rate would you shoot in? Why would you shoot in 24p unless you were transferring to film? Can you tell the difference between 24p and 24PN, if so ... why would you shoot 24p? Why not just shoot 30p can you see the difference between 2:2 and 2:3?

 

[vic777]

Vimeo doesn't "prefer" 24p, Vimeo doesn't deliver 30p in HD at all. So if you want your HD videos to play on Vimeo, they WILL be 24p. Either because you made them that way, or because they converted it to 24p.

OK, I guess that answers the original posters question. Then for Vimeo, it makes sense to shoot 24p. Do they convert to actual 24fps to reduce bandwidth?

 

[vic777]

Vimeo doesn't "prefer" 24p, Vimeo doesn't deliver 30p in HD at all. So if you want your HD videos to play on Vimeo, they WILL be 24p. Either because you made them that way, or because they converted it to 24p.

Where can I get this info on Vimeo ... did you get it off their Home page?... or is there some "book" on Vimeo ... thanks ...

 

[Barry_Green]

If you were going to transfer to film ... what frame rate would you shoot in?

24fps. Doesn't really matter what the recording mode is (24p or 24pN), just so long as you edit in a true 24fps timeline.

Why would you shoot in 24p unless you were transferring to film?

Because it makes it look more like you shot it on film in the first place. And all of society has been conditioned, over the last 100 years of film shooting, to recognize that big-budget high-quality stuff (whether movies, TV, whatever) is shot on film (or at least looks like it has been). And that no-budget immediate newsy stuff isn't shot on film, it's shot on video. So filmmakers and commercial makers and industrials/corporates want the look of having shot on film. So we all shoot 24fps -- either on film or on video.

Can you tell the difference between 24p and 24PN, if so ... why would you shoot 24p?

24p (with 3:2 pulldown) is designed for broadcast compatibility. 24pN is designed for simple 24fps editing. The look will be identical, depending on where it's viewed (24p 3:2 will need its pulldown removed in order to fit in a 24p timeline; 24pN will need 3:2 pulldown added to it for broadcast).

Why not just shoot 30p can you see the difference between 2:2 and 2:3?

Because 30p doesn't look like 24p. And 30p makes for a lousy transfer to PAL if you ever want to distribute your product overseas. 24P works great for domestic and international release, and it looks more like film. And it takes up less space, and therefore you can fit more programming or use less compression, therefore making your project look better, etc.

 

[NoahK]

2004 called and want's its 24p vs. 30p debate back.

-Noah

 

[PerroneFord]

2004 called and want's its 24p vs. 30p debate back.

-Noah

LOL!

We are going to see this debate come around again as 24p goes into mainstream, mass market HD cams and TVs/BD Players/HDTVs.

 

[Chamber005]

Agree 100% with Barry. Also 24p allows for a longer film to be uploaded in the same data space, or allows for a better encode rate to be used in the same data space. It can really make a difference in some cases.

Vimeo doesn't "prefer" 24p, Vimeo doesn't deliver 30p in HD at all. So if you want your HD videos to play on Vimeo, they WILL be 24p. Either because you made them that way, or because they converted it to 24p.

That's what I'd heard -- and it seemed pretty apparent when I'd watch an HD video that was posted and wasn't shot (or converted to) in 24p. I did not, however, know that it only applied to their HD videos. That explains a lot.

Since everyone is so active on this thread, I wonder if one of you might help me with some confusion. I have a canon cam shooting 1080 at 24 to 5mbps that has HDMI output, RGB and composite (yellow/white/red -- via the AV jack) outputs. I don't have the necessary processing power to handle the AVCHD footage nor do I have a bluray/HDDVD recorder. So, the only way I'm able to retain/edit any footage is to transfer the HD footage via the composite cables into a DVD-RW, hence leaving me with 480i -- but still a pretty awesome picture.

My query is why can a DVD-RW take footage via yellow/red/white cables, but can't take footage via RGB or, obviously, HDMI? What is happening to the signal/footage/whatever when it passes through the composite cables that makes the footage DVD "readable"?

Tehcnology! Ack!

Thanks!!!

 

[Demistate]

Don't encode your frame-rate cadence different from what you shot unless you have an absolutely really good reason to do so. (Like a broadcast station that only does 29.97). You're just going to degrade the footage if you do.