But does it do 24p?

Among the emails I got lately, I got a number of people interested in sports and 24p. Well, let me say this for one more time: you don’t want to shoot sports in 24 frames per second. 24 frames are not enough for fast-moving sports (it’s ok for chess and poker, and that’s about it). Shelling $1000 to get the HV20 just because “it does 24p” when you want to shoot sports is unwise. Use the right tool for the job and shoot at the default 1080/60i or 50i, usually in high shutter speeds. Use 24p only for indie short movies and artistic music video clips, not for normal lifestyle stuff.

5 Comments »

Brian Boyko wrote on November 7th, 2007 at 5:24 PM PST:

I’m going to second this.

See, the reason people want progressive scan for sports is because the action moves so fast that interlacing lines can appear very clearly on 60i footage. However, 60i can still catch the fast movement of the football field – it just doesn’t look quite as good as 60p due to those interlacing lines.

What 24p – or 24 frames per second does, however is take -fewer- frames per second than 60i (which takes sixty 1/2 frames per second) It really is for an artistic look – it’s designed to make the movie look more like a movie. But one thing it doesn’t do well is capture fast motion – it’ll look blurry as all heck.

Now, here’s the kicker – almost all movies are shown in 24p in the theatre. Almost all TV shows, however, are 60i (or 50i) Where do you find movies? In the theatre – or on the DVD. Where do you find sports? On television – which is recorded in 60i (at least it is for NTSC.) If 60i is good enough for ESPN HD, it should be good enough for everyone else.

Now, I wouldn’t say to stay away from the HV20 – if you’re shooting sports, you’re going to want a good shotgun microphone and the HV20 has a mic attachment. But in the case of sports, the 24p is not a selling point.


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Eugenia wrote on November 7th, 2007 at 5:29 PM PST:

Interlacing is not an issue if you export in progressive format from your NLE. Usually NLEs blend fields and so the 60i becomes 30p, but if you use a good NLE, you can export as 60p too (Vegas can do it). There are only two problems with it:
1. Playing back 60p HD footage requires a lot of CPU speed. Not even the fastest Blu-Ray drive can’t do that. But it eventually will (it’s part of the future spec).
2. Creating perfect progressive output out of interlaced source footage, requires expensive hardware equipment. Software-based de-interlacing is not perfect, but it’s good enough.

Nevertheless, 30p (after exporting as such from 60i) beats 24p. And if you have a good branded TV, you can leave your footage as 60i, with the TV taking on the job to do a good de-interlacing so you will never realize that this was interlaced footage. No, not all TVs have the same quality of de-interlacing.


Richard wrote on November 8th, 2007 at 8:32 AM PST:

btw. I recently found GREYCstoration, and I wonder how well it might work for interpolating 60i to 60p, but somehow I am afraid that this will be “really” slow for HD. 😉
Anyways, I think I will put together a little deinterlacer using this tool.
Be sure to check out it’s examples for “Image Inpainting”, to see how it works.


Steve wrote on November 9th, 2007 at 7:46 PM PST:

I bought the HV20 for my daughter’s ballet, it’s the Nutcracker. While it’s not fast moving sports, there is at times alot of movement, I was noticing how the 24P mode really brings up the overall brightness, and the stage is dark at times. I taped last years play with a DV Camera at 30i shutter. If I kept the camera still the action seemed fine, it was when I would pan (very slow)that there was a noticable blur, something I didn’t notice with 60i. I was hoping the progressive mode would be a tad better with slower shutter speeds, perceptually speaking.


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Eugenia wrote on November 9th, 2007 at 9:42 PM PST:

Actually, the slower the shutter speed, the more blur you get on movement. You need high shutter speeds to avoid that.


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