IndiesHD

Overview of HD formats

Because of the multiple frame sizes, frame rates, and scanning methods supported by the latest high definition video specifications, there are a large number of high definition formats currently available. While the most commonly used formats are described below, many other variations exist today

1080i60

This is a common broadcast format that is compatible with standard definition NTSC video.

1080i50

1080i50 is compatible with standard definition PAL video.

1080p24

1080p24 is sometimes simply referred to as 24p and is considered by some to be the most flexible frame-rate choice because it is possible to transfer to NTSC video, PAL video, and—perhaps most important—film. Choose this format if you plan to transfer your finished video to film, or if you are trying to emulate a film look on your final video. This format is similar to 720p24, but with much higher resolution.

720p60

This format is smaller than 1920 x 1080, but the smaller image dimensions decrease the per-frame data rate. This means the frame rate can be doubled compared to 1080i formats without significantly increasing the data rate.

720p30

720p30 is a particularly flexible format because it is compatible with standard definition NTSC video (because it has a matching frame rate of 29.97 fps) as well as streaming and downloadable video (because it is progressively scanned). Because of the progressive scanning, 720p30 is also useful when you need a video format that can output high-quality still frames.

720p24

720p24 is sometimes simply referred to as 24p, and is considered by some to be the most flexible frame rate choice because it is possible to transfer to NTSC video, PAL video, and film. Choose this mode if you plan to transfer your finished video to film, or if you are trying to emulate a film look on your final video.

HDV

HDV is a new high definition video format created by a consortium of manufacturers including Sony, Canon, Sharp, and JVC. HDV allows you to record an hour of high definition video with a consumer-priced handheld camcorder on standard mini-DV videocassettes. You can connect an HDV camcorder to your computer via FireWire, so you can capture and output just as you would with a DV device. HDV uses MPEG-2 compression to achieve a maximum video data rate of 25 Mbps, which is the same data rate as DV. This means you can fit the same amount of video on your scratch disks as you can when using DV. Although the HDV workflow is nearly identical to a typical DV workflow, a few additional steps are required. Avid Xpress Pro HD, Avid Film & Media Composer and Final Cut Pro allows you to capture, edit, and output HDV video in its native format.

DVCPRO HD

DVCPRO HD is a high definition addition to the DV/DVCPRO format family, making it simple to adapt your existing DV- and FireWire-based editing workflow to high definition video.

Panasonic P2

A P2 card (P2 stands for Professional Plug-in) is a compact, solid-state memory card designed for professional video use. Since they have no moving parts, P2 cards are free from many of the pitfalls associated with tape-based media, such as temperature and moisture sensitivity, tangled tape, dropouts, and tedious logging and capturing. Panasonic currently produces proprietary P2 cameras, decks, and card readers. The original P2 card had a capacity of 2 GB, or roughly 8 minutes of DV 25 footage. A fully loaded five-slot array could therefore hold 10 GB, or 40 minutes of DV 25 footage. Cards with 8 GB capacities are now available and capacities are projected to grow geometrically with each new P2 card release.

XDCAM HD

The original XDCAM format uses the Sony Professional Disc (a 120 mm disc like CD and DVD discs that can record 23.3 GB of media by using a a 405 nm blue violet laser) to record a variety of standard definition digital video formats, including: DVCAM: 25 Mbps DV (NTSC or PAL),MPEG IMX: 30, 40, or 50 Mbps MPEG-2 (I-frame only, NTSC or PAL) Note: Although the Sony Professional Disc uses a blue-violet laser, it is not compatible with Blu ray disc technology. The Sony Professional Disc supports a transfer speed of 72 Mbps, whereas a consumer Blu ray disc has a maximum rate of 36 Mbps. All video and audio content is stored on disc within MXF container files. Much like QuickTime movie files, MXF files can store video and audio data in almost any frame rate and codec, as well as metadata about the content, such as date of recording, GPS positioning data, and so on.

Apple ProRes 422

The Apple ProRes 422 codec is a high-quality 10-bit 4:2:2 video codec designed for demanding post-production workflows. Both SD and HD resolutions are supported at two quality levels—standard and high. All standard frame rates are available -23.98, 25, 29.97, and 59.94 fps. The standard-quality format is called Apple ProRes 422 and the high-quality format is called Apple ProRes 422 (HQ). The Apple ProRes 422 codec uses variable bit rate (VBR) encoding. The actual bit rate depends on the dimensions, frame rate, image complexity, and quality you are using.

Advantages of using the Apple ProRes 422 codec

• Provides superior real-time performance and lower storage costs compared to the
  Uncompressed 8-bit and 10-bit codecs.
• Can be used to capture using a third-party video interface with SDI or HD-SDI inputs.
• Can be used to transcode formats that Final Cut Pro does not support natively.
• Can be used to render long-GOP MPEG-2 formats (such as HDV and XDCAM HD) to
  avoid MPEG-2 reencoding artifacts before output.
• The 8-bit Apple ProRes 422 codec can serve as an intermediate format when working
  with film transfers or 2K digital cameras. This may replace some DVCPRO HD
  intermediate film workflows.
• The 10-bit Apple ProRes 422 codec can be used for preview screenings (avoiding
  costly film transfers) and for color grading.
• The Apple ProRes 422 (HQ) codec can be used for output to a high-end mastering
  format or even for outputting to film on lower-budget productions.

Avid DNxHD

The Avid DNxHD codec is specifically designed for nonlinear editing and multi-generation compositing, including collaborative postproduction and broadcast news environments. Avid DNxHD technology is based on the MXF standard, ensuring that media can be exchanged with any other MXF-compliant system. It offers a choice of 8- or 10-bit sampling, three user-selectable bit rates, and the ability to maintain image quality more effectively than other HD codecs.