As more businesses realize the importance of video as a marketing medium --- no longer the exclusive domain of a multinational company (MNC) --- and with every sale of a mobile screen gadget (i.e. ipad, ipod, android tablet, laptop etc), the demand for video content will grow exponentially. While many companies will jump on the video content bandwagon as the IT thing to do, newbies joining the fray will experience a bit of learning curve along the way. Do we go HD, SD or HDV? Does my marketing message blend better with live action, animation or docu-style? Do I shoot 24, 30, 50 fps? PAL or NTSC?
Of course, hiring the right company will save you a lot of needless hoop jumping, in that they would explain the type of video production that would better serve your needs. Having said that, it’s always good know your stuff before meeting a prospective hire.
Over the next blog entries, I will try to explain some of the technical jargon that videographers and video editing professionals use everyday. For today’s blog, let’s start with…
Frame Rates
There are three main frame rate standards in the TV and movie making industry: 24p, 25p, and 30p. There are, however, variations to these, along with new emerging standards.
24p is a progressive format. Widely adopted by film and video makers, this is the preferred frame rate because the on-screen "look" of the (low) frame rate matches native film. It is particularly used by those planning on transferring a video signal to film. The “look and feel” of video captured at 24p frame rate has been likened to possessing a filmic look, not unlike those produced by a motions picture camera.
25p is a progressive format and runs 25 progressive frames per second. This frame rate is derived from the PAL television standard of 50i (or 50 fields per second). Like 24p, 25p is often used to achieve "cine"-look, albeit with virtually the same motion artifacts. It is also better suited to progressive-scan output (e.g., on LCD displays, computer monitors and projectors) because the interlacing is absent.
30p is a progressive format and produces video at 30 frames per second. Progressive scanning mimics a film camera's frame-by-frame image capture. Shooting video in 30p mode gives no interlace artifacts but can introduce judder on image movement and on some camera pans.
50i (50 interlaced fields = 25 frames) is an interlaced format and is the standard video field rate per second for PAL and SECAM television.
60i (actually 59.94, or 60 x 1000/1001 to be more precise; 60 interlaced fields = 30 frames) is an interlaced format and is the standard video field rate per second for NTSC television --- better known as the US television standard.
50p/60p is a progressive format and is used in high-end HDTV systems. While it is not technically part of the ATSC or DVB broadcast standards, it is rapidly gaining ground in the areas of set-top boxes and video recordings.
72p is a progressive format and is currently in experimental stages.
Of course, hiring the right company will save you a lot of needless hoop jumping, in that they would explain the type of video production that would better serve your needs. Having said that, it’s always good know your stuff before meeting a prospective hire.
Over the next blog entries, I will try to explain some of the technical jargon that videographers and video editing professionals use everyday. For today’s blog, let’s start with…
Frame Rates
There are three main frame rate standards in the TV and movie making industry: 24p, 25p, and 30p. There are, however, variations to these, along with new emerging standards.
24p is a progressive format. Widely adopted by film and video makers, this is the preferred frame rate because the on-screen "look" of the (low) frame rate matches native film. It is particularly used by those planning on transferring a video signal to film. The “look and feel” of video captured at 24p frame rate has been likened to possessing a filmic look, not unlike those produced by a motions picture camera.
25p is a progressive format and runs 25 progressive frames per second. This frame rate is derived from the PAL television standard of 50i (or 50 fields per second). Like 24p, 25p is often used to achieve "cine"-look, albeit with virtually the same motion artifacts. It is also better suited to progressive-scan output (e.g., on LCD displays, computer monitors and projectors) because the interlacing is absent.
30p is a progressive format and produces video at 30 frames per second. Progressive scanning mimics a film camera's frame-by-frame image capture. Shooting video in 30p mode gives no interlace artifacts but can introduce judder on image movement and on some camera pans.
50i (50 interlaced fields = 25 frames) is an interlaced format and is the standard video field rate per second for PAL and SECAM television.
60i (actually 59.94, or 60 x 1000/1001 to be more precise; 60 interlaced fields = 30 frames) is an interlaced format and is the standard video field rate per second for NTSC television --- better known as the US television standard.
50p/60p is a progressive format and is used in high-end HDTV systems. While it is not technically part of the ATSC or DVB broadcast standards, it is rapidly gaining ground in the areas of set-top boxes and video recordings.
72p is a progressive format and is currently in experimental stages.
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