According to Alister Chapman at XDCAM.com the camera records progressive in an interlaced stream: "it records 25P (Pal version) or 30P (US version) recoded in an interlace stream to give maximum compatibility."
Alister has played with it a little - full article here:
Jem - can you explain a bit more in detail the "look" of progressive vs interlaced? Is that shallow depth of field not really possible with interlaced? sort of confused here... thanks
In case Jem's busy I'll try to explain as simply as possible.
Interlaced and progressive recording have no effect on depth of field which is a product of sensor size, focal length and distance to subject - it's a complex subject but basically large sensors and or long focal lenghts enable you to get a more shallow depth of field which is why there is such a mania surrounding the 5D MK11 and it's ilk with their 35mm sensors.
Interlaced video is recorded as 2 'fields' per frame but each field is half the resolution, missing out every other line. They are then played back together (interlaced) to give the full res. So 60i refers to 30 frames per second recorded as 60 fields.
Progressive video records a complete whole frame so 30P is 30 complete progressive frames. Film is recorded at 24 frames per second which is why those wishing to emulate the film look record at 24P and use cameras with large sensors similar to 35mm film.
Interlaced video is really a hangover from TV's technical beginnings when it was not possible to broadcast progressive images due to bandwidth and other technical limitations.
Reader Comments (6)
Jem
According to Alister Chapman at XDCAM.com the camera records progressive in an interlaced stream: "it records 25P (Pal version) or 30P (US version) recoded in an interlace stream to give maximum compatibility."
Alister has played with it a little - full article here:
http://www.xdcam-user.com/?p=977
Regards
Andy
Jem - can you explain a bit more in detail the "look" of progressive vs interlaced? Is that shallow depth of field not really possible with interlaced? sort of confused here... thanks
Thomas
In case Jem's busy I'll try to explain as simply as possible.
Interlaced and progressive recording have no effect on depth of field which is a product of sensor size, focal length and distance to subject - it's a complex subject but basically large sensors and or long focal lenghts enable you to get a more shallow depth of field which is why there is such a mania surrounding the 5D MK11 and it's ilk with their 35mm sensors.
Interlaced video is recorded as 2 'fields' per frame but each field is half the resolution, missing out every other line. They are then played back together (interlaced) to give the full res. So 60i refers to 30 frames per second recorded as 60 fields.
Progressive video records a complete whole frame so 30P is 30 complete progressive frames. Film is recorded at 24 frames per second which is why those wishing to emulate the film look record at 24P and use cameras with large sensors similar to 35mm film.
Interlaced video is really a hangover from TV's technical beginnings when it was not possible to broadcast progressive images due to bandwidth and other technical limitations.
Andy
Thanks Andy.
Great post.
I just finished shooting an episode yesterday (will be posted tomorrow), that discusses this based on the post by Thomas.
-Jem
Thanks Jem
Just realised I forgot to mention aperture in there which is obviously a big factor in the depth of field story :-)
That's in tomorrow's post.
-Jem