I am interested in your camcorder in general and then browse around a bit so where is the FUll HD cams are for professionals.
In the consumer sector, there are even canyons and Sonyum the 1,000 euros. Where the fun begins with the professional?
Please do not misunderstand, I will only tell ... do not buy or the sense or nonsense comparison between professional and consumer aspire.
Thanks
Antwort von KrischanDO:
Hi,
It is really nice example with a SonyEX-1. Because: The 1 / 2 inch chips has (little noise, less depth of field) Aperture, Zoom and focus are adjusted on demand real manell 720p + i with up to 60 fps to 1080 p and with 24, 25 and 30 fps. The display has a pretty good. The Zebra and Peaking adjustable and offers even more.
I turn synonymous for Web videos, which will only run at 400 px width, 1080p. Then you can kadri synonymous times on average a little bit and has reserves of almost everything.
Regards Christian
Antwort von MarcBallhaus:
Semi-professional: 5,000 - 12,000 Professional: 25.000 - open end
The professionals on TV 720p spins, the professionals in the film 4k. Full HD is bad, strictly speaking, is primarily a consumer thing.
"KrischanDO" wrote:
Hi,
It is really nice example with a SonyEX-1.
The EX1 is not professional segment.
MB
Antwort von schlaflos011:
Semi-professional:
We shoot with the JVC GY-HM700 usually 720/50p For our new documentary project, we try to 1080/25p
Antwort von deti:
The number of professional HD productions will be though more slowly, but s.der agenda is HD, a lack of demand for the customers, still do not. That is why professionals today turn very often with Digi-Beta cameras. Some already have HD cameras in use. But these are usually run in SD mode and therefore generate a DV or DVC PRO format. More and more frequently used in recent times slightly better HDV cameras for standard definition productions. Probably be actually more HDV cameras set of professionals than any other format.
The format 720p50 offers a number of advantages over 576i and 1080i synonymous. But it would be regarded today as a standard measure. It all depends more on what you want to do and whether a certain workflow is fixed.
Deti
Antwort von videofreund23:
"deti" wrote:
The number of professional HD productions will be though more slowly, but s.der agenda is HD, a lack of demand for the customers, still do not. That is why professionals today turn very often with Digi-Beta cameras. Some already have HD cameras in use. But these are usually run in SD mode and therefore generate a DV or DVC PRO format. More and more frequently used in recent times slightly better HDV cameras for standard definition productions. Probably be actually more HDV cameras set of professionals than any other format.
The format 720p50 offers a number of advantages over 576i and 1080i synonymous. But it would be regarded today as a standard measure. It all depends more on what you want to do and whether a certain workflow is fixed.
Deti
mh, and it anticipates your 720p material, so to speak just to 1080p high when it is required.
Why 1080p is only for consumer?
Antwort von pilskopf:
So you see where is the matter already HD to save in the net? Certainly not on TV. Perhaps the most private of his wedding. In the TV I see only ne measly 720s Resolutionund as things stand, remains the only synonymous times in Germany. In effect it is for television runtergerechnet s.end everything, although I do not know what resolutions to request the sender if they are offered a product but I can not imagine that the conditions for full HD sharp.
Antwort von deti:
You may not broadcast HD format to be confused with the internal formats and delivered! The public transportation system will change according to EBU White Paper on broadcasting in 1080, once the technical conditions necessary for 1080p50.
Can now turn to the internal / formats delivered (I, however, speak only for the public transportation system): Here is the format for HD production 1080i50 4:2:2 regarded as standard (Technical Guidelines of the IRT http://webdb.irt.de/richtlinien/). Free downloadable for anyone interested: http://archives.arte.tv/static/c5/pdf/2008/anforderungen_hd_2008-10.pdf For more information on SD and HD productions here: http://www.arte.tv/de/Informationen-zum-Empfang/2196752.html
Have fun Nachlesen ...
Deti
Antwort von Pianist:
"pilskopf" wrote:
So you see where is the matter already HD to save in the net?
My films are mainly due to special events, fairs, congresses, in information and then next. And since people naturally want to see on 1920x1080 monitors synonymous a similar picture, so I produce for two years in 1920 by 1080, but with half-frames in order to continue to have good compatibility with the normal television. When I create high-resolution files, then the deinterlaced from Procoder. And if there really some point should ask someone after 50 full frames, will be by then synonymous find a solution.
Matthias
Antwort von pilskopf:
It always depends on it s.wer halt the customer is and what he wants. What are professionals, then? Those who earn the money with them? They will rotate according to the requirements, I do not think you are as flat-rate compensation and s.einem format can be set. Before I turn, I do know the job and what is expected.
And if the contract is that the videos run at trade shows and will look good on TV 102cm, then synonymous 720p can look very good.
Antwort von WoWu:
Deti has been widely told. The TV stations usually make a point, that material has not been rotated in 4:2:0, to avoid chromatic aberrations in the transmission path to re-encoding. Otherwise, it's always a question asked what the format of the customer. 1080p25 is so far an amateur format, because it is virtually no cameras there to support 4:2:2 and 1080p25, the TV companies have the goal to transfer the future in 1080p 50. Unfortunately, 1080p50 is not even standardized. Therefore, one finds no synonymous 1080p50 cameras (and Equipment) s.Markt, although the data rate would be quite manageable. That leaves as a proxy for professional work, the color at: 4:2:2 and lower the aspect ratio.
Antwort von pilskopf:
Can convert the real per program? So, the 4:2:2?
Antwort von WoWu:
Nope, unfortunately not, because the interpolation is already taking place immediately after the scan. There are Programs like the Nattress "Chroma Smooth", but says very clearly: "No more information, but more pleasant to look SchM." Since the color edges are made, just softer. But the original color information that would be needed for 4:2:2 are, by any method to win again. It is rumored that one could, if one accounts for HD - SD, from 4:2:0 to 4:2:2 then again is not true. The color that would be needed for 4:2:2, are gone.
On the edge of interest in connection with approvals TV the way, is synonymous to the BBC) since this month (October, no more material allows, the origin of 16mm film.
Antwort von videofreund23:
and can benefit all, including cameras already 4:2:2 720p50
Have a little does not directly advertise gekuckt and Manufacturer
Antwort von Pianist:
"videofreund23" wrote:
and can benefit all, including cameras already 4:2:2 720p50
I can, but I rotate so as already written in 1080i. The thing with the Farbsubsampling the way, is really very important. Everything that is not less than 4:2:2 may be forgotten. Of course, 4:4:4 would be even nicer, but from experience I can say that enough already 4:2:2 to make large-scale brightness, contrast and color changes without visible quality loss. Usually I do not need sowas because I already Rotate the watch out, but if it still takes time, you're lucky if it works.
Matthias
Antwort von DWUA:
A bit of general overview has never harmed anyone. Also her damit: www.film-tv-video.de/glossar_entries.html?&no_cache=1&uid=7&L =
There's in the left column 26 times what the "clicking".
;))
Antwort von WoWu:
Pianist has already said. The pro cameras have all 4:2:2. The problem really is that 4:2:0 is already an interpolation of the color. (From 4 color values to create a mean value). There can therefore arise from different fast colors, a color that is not in the original colors. Such results can then be encrypted again (in the transmission path) to 4:2:0, then from those already wrong colors worth a re-calculated by interpolation, which sometimes has to do with the main color at all any more. And the more often you perform these interpolations, the greater is the color.
