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About HD standards

From: Premiere Pro CS4 Beyond the Basics

Video: About HD standards

So let's face it. The world has pretty much gone HD and what segments of television have not gone HD will very soon. iTunes and Netflix and other companies that even distribute video over the Internet are even now streaming HD video. I actually have a Netflix video player that streams HD video. It looks phenomenal. So it's only a matter of time before everything is all HD, all the time.

About HD standards

So let's face it. The world has pretty much gone HD and what segments of television have not gone HD will very soon. iTunes and Netflix and other companies that even distribute video over the Internet are even now streaming HD video. I actually have a Netflix video player that streams HD video. It looks phenomenal. So it's only a matter of time before everything is all HD, all the time.

So I want to just talk a little bit about some of the HD standards. When we're working in Standard Definition Video, it's pretty simple. After a while, they started coming around with wide screen and full screen but the pixel counts were the same. Although nothing has changed with the pixel aspect ratios, but now that HD has entered the mix, there is a whole slew of formats and sizes. Let's talk about those a little bit. Again as a teaching tool, I am going to go and create a brand new sequence, so we can look at these settings here. We know that we have standard DV. These are a Standard SD formats.

One of them that's not listed here is EDTV. We know that we have SDTV, Standard Definition. We have HDTV, High Definition. But there is also EDTV, which is Enhanced Definition TV. Essentially that's the standard NTSC pixel count with a 720x480. But it also has progressive frames and not interlaced frame so it's often seen as 480p. Now one other thing that's good to pay attention to are all these crazy numbers. It's that these are the number of vertical lines and so we have 480 vertical lines and so SD is now referred to as 480i and the "i" refers to interlaced frames, "p" refers to progressive frames. So 480i is SD.

480p is EDTV as mentioned. And I mentioned that because the Nintendo Wii is so popular. And moreover a people are creating games from scratch using Flash. My brother Todd has created Lynda titles on creating Wii games in Flash and creating videos and watching video on the Wii. It's good to know those frames rates. And actually not just the frame rates but the sizes and dimensions and all that kind of stuff. So then we move up to 720p. It's at 720 vertical lines and that resolution is 1280x720, and note that it has a square pixel aspect ratio.

Now while this is considered HD, true HD is actually 1920x1080. Now HDV as you can see here is 1440x1080. That's not what we are looking for and so we need to actually move up to an HD standard here, 1080p for example, and AVCHD is 1920x1080 with square pixel, so this is true HD. It should also be noted that 1080i is also considered HD but for the ultimate, ultimate HD experience, it's really 1080p. That's 1920x1080 pixels with progressive frames.

Because of the increase in quality when using progressive frames, a lot of people feel that 720p is about the same quality as 1080i even though there are fewer pixels. Personally I prefer 720p. It's nice and clean. I love working with progressive frames. The farther away we get from SD, the easier our lives as editors are. The more we can get rid of weird pixel aspect ratios and the more we can get rid of interlaced frames and all that junk, get it out of the way and the new HD progressive format, although it's a little more taxing because there is more pixels.

they take away a lot of those issues that we have to deal with SD. Now it's also point out here, as demonstrated by the AVCHD Presets, that there are different frame rates for HD. HD unlike SD allows 24 frames per second, 30 frames per second and 60 frames per second and for PAL it also allows for 25 frames per second and 50 frames per second. I should also point out that in some technical writings, frame rate is referred to as Hertz.

So as you see something like 720p 60 Hertz, what it's saying is it's 720p video. It's 60 frames per second. Now one final note as we are looking these presets here, I feel I probably should tell you that if we go over to the General tab and you go to the Editing mode, we can see that there are more editing modes here and other presets here that we don't see in the Sequence Preset say, for example RED Cinema here which I don't believe is in the available presets area, no. It's not. So we can have RED Cinema, which is getting wildly popular, and we will see much more of in the future to be sure.

And it also pays to note that because of the RED Camera, which is increasing in popularity, and the RED Camera allows you to go a bigger than HD. It allows film sizes of 2K and 4K which is basically the 2000 pixels and 4000 pixels respectively. And also because RED is introducing the new sensor that they're coming out with that goes up to like 20 something K. So 20 something thousand pixels for their epic cameras, and so that's going to be a big deal. It's no wonder that Adobe has already announced that CS5 will be 64-bit native, so you will have more RAM to be able to process all of these huge frames that are coming out.

But as far as HD video goes, those are the standards. Who knows what the future holds as far as 2K and 4K and whatever else beyond that? But as for right now, those are the standards for HD.

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Premiere Pro CS4 Beyond the Basics

82 video lessons · 20290 viewers

Chad Perkins
Author

 
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  1. 4m 11s
    1. Welcome
      56s
    2. What's new in the dot release
      57s
    3. Using the exercise files
      2m 18s
  2. 18m 54s
    1. Capturing ambient audio
      3m 12s
    2. Getting plenty of coverage
      1m 48s
    3. Telling a story with camera angles
      3m 18s
    4. The 180 degree rule
      2m 13s
    5. Framing shots
      3m 25s
    6. Allowing "emotional space"
      1m 40s
    7. Overcranking and time lapse
      3m 18s
  3. 11m 38s
    1. Why is metadata important?
      1m 40s
    2. Browsing and adding metadata
      6m 4s
    3. Creating metadata with Speech Search
      3m 54s
  4. 33m 12s
    1. When to cut
      7m 38s
    2. Avoiding bad edits
      9m 17s
    3. Using emotional cutaways
      1m 53s
    4. Fixing problems with cutaways
      3m 53s
    5. Pacing edits
      3m 49s
    6. Matching action
      4m 14s
    7. The power of suggestive editing
      2m 28s
  5. 26m 31s
    1. Contrasting targeting and selecting
      3m 17s
    2. Copying and pasting clips
      2m 36s
    3. Replacing clips
      4m 8s
    4. Editing to music
      5m 0s
    5. Using sample rate for precise editing
      5m 34s
    6. Creating J and L cuts
      3m 33s
    7. Working with subclips
      2m 23s
  6. 11m 17s
    1. Ingesting media
      1m 39s
    2. Examining P2 file structure
      1m 31s
    3. Importing P2 files with the Media Browser
      5m 15s
    4. Converting DVCPRO HD to standard 720p
      2m 52s
  7. 38m 11s
    1. Using the Reference Monitor
      3m 0s
    2. Using scopes
      8m 33s
    3. Primary color correction
      10m 11s
    4. Secondary color correction
      8m 28s
    5. Creating a vignette
      2m 28s
    6. Creating a day-for-night shot
      5m 31s
  8. 37m 19s
    1. Censoring video
      5m 30s
    2. Creating a waving flag
      6m 5s
    3. Creating a lens flare
      3m 36s
    4. Creating background textures
      6m 19s
    5. Playing with time
      6m 4s
    6. Using transition effects
      6m 13s
    7. Working with presets
      3m 32s
  9. 15m 30s
    1. Creating a garbage matte
      3m 56s
    2. Removing green screen
      5m 6s
    3. Compositing with blend modes
      3m 32s
    4. Nesting sequences
      2m 56s
  10. 15m 27s
    1. Creating 3D reflections
      5m 0s
    2. Creating growing vines
      5m 52s
    3. Creating a track matte
      2m 39s
    4. Using the History panel
      1m 56s
  11. 42m 25s
    1. Censoring audio using bleeps
      5m 16s
    2. Understanding sample rate
      3m 0s
    3. Normalizing audio across multiple clips
      5m 7s
    4. Recording audio
      2m 24s
    5. Removing audio problems with Soundbooth
      5m 43s
    6. Working with VST plug-in effects
      2m 3s
    7. Mixing audio
      8m 20s
    8. Changing volume over time
      5m 22s
    9. Working with surround sound
      5m 10s
  12. 23m 52s
    1. About this project
      2m 26s
    2. Performing preliminary edits
      2m 35s
    3. Working with multi-camera footage
      7m 27s
    4. Creating a visual "stutter"
      3m 12s
    5. Adjusting color
      8m 12s
  13. 6m 28s
    1. Transferring projects to another machine
      3m 24s
    2. Removing unused footage
      3m 4s
  14. 25m 46s
    1. Choosing a format
      5m 35s
    2. Understanding spatial compression
      2m 5s
    3. Understanding temporal compression
      4m 19s
    4. About HD standards
      5m 46s
    5. Changing footage interpretation
      2m 17s
    6. Getting the film look
      5m 44s
  15. 27m 10s
    1. Working with After Effects
      5m 56s
    2. Creating titles in After Effects
      5m 39s
    3. Working with Photoshop files
      2m 29s
    4. Working with Final Cut Pro
      2m 2s
    5. Working with OnLocation
      3m 12s
    6. Working with Encore
      4m 27s
    7. Introducing Adobe Story for pre-production
      3m 25s
  16. 15s
    1. Goodbye
      15s

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