60i vs 60P

[swanny]

So I'm interested in the C100 but like many, the lack of 60p is a concern. What exactly is the difference between shooting in 60i and 60p? What are the differences in post production work if any?

 

[Gary Huff]

So I'm interested in the C100 but like many, the lack of 60p is a concern. What exactly is the difference between shooting in 60i and 60p? What are the differences in post production work if any?

You only want 60i for broadcast...it looks really bad for web video. You can deinterlace, but you lose quite a bit of resolution. It could be useful for slo-mo, as the deinterlacing will make it just slightly under 720p, but outside of that I wouldn't use it for anything.

 

[swanny]

So what is the difference besides ease of use to converting 1080 60i to progressive? for example the sony F3 only shoots 60p in 720 so wouldn't it be about the same quality? It's been ages since I've shot interlaces and have kind of forgotten what the difference is. I also didn't know if the modern editors handle it differently than say FCP7. I'm on CS6.

 

[swanny]

I hardly shoot 60fps as it is, but when I freelance it's a requirement sometimes.

 

[Gary Huff]

for example the sony F3 only shoots 60p in 720 so wouldn't it be about the same quality?

It depends. Deinterlacing can be problematic, and your resolution could be nearly halved.

 

[AndreeOnline]

What exactly is the difference between shooting in 60i and 60p?

Do you know the difference between interlaced (fields) and progressive (frames)?

I'm not sure if you're asking strictly about workflow, or if you're asking about format differences as well?

Problem with interlaced and fields is that one frame isn't only split in half resolution wise, but the fields are time separated as well, so there is no way to actually re-create whole frames, as if it were progressive.

This is different from the 25PF mode (or 30PF) that the C100 offers, where the camera shoots actual progressive frames, and THEN split them into an interlaced stream. THESE frames can be re-created without quality loss with pulldown.

 

[mhood]

This is different from the 25PF mode (or 30PF) that the C100 offers, where the camera shoots actual progressive frames, and THEN split them into an interlaced stream.

If only there was a way to NOT split them into an interlace stream out the HDMI port.

 

[swanny]

I was talking about workflow and post processing. That's good info to know about the C100. Too bad they don't offer that with 60 fps though

 

[swanny]

I didn't know if you could edit 60i footage and output it easily and without much quality loss to progressive?

 

[AndreeOnline]

I didn't know if you could edit 60i footage and output it easily and without much quality loss to progressive?

The C100 supports both 60i, as in shooting interlaced, and PF30, as in shooting 30 progressive frames per second and then delivering them in a 60i stream (also PF25 and 50i).

These two versions of 60i streams have nothing in common, apart from the '60i' name.

Additionally you can shoot true 24p internally, or capture 24p in a 60i stream via HDMI out.

The important thing, however, is what you shoot: 24p, 25p, 30p... not the name of the 'container' such as 60i or 50i.

 

[AndreeOnline]

If only there was a way to NOT split them into an interlace stream out the HDMI port.

Well, as long as the camera shoots progressive, as it does, it's not THAT much of an issue.

And looking at devices that are suitable for HDMI hook-up, the Ninja 2 seems pretty sweet and it does the pulldown before encoding.

 

[mhood]

Well, as long as the camera shoots progressive, as it does, it's not THAT much of an issue.

And looking at devices that are suitable for HDMI hook-up, the Ninja 2 seems pretty sweet and it does the pulldown before encoding.

For $1,000.00 US. The Hyperdeck Shuttle 2 for $330.00 US is sadly a no go.