4:2:2 , what does it mean?
dapoopta
2 Jan 2009 02:55
Hello my good friends. Welcome to the new year. Now a serious question. How does 4:2:2, 4:4:4, etc. work??? What does it mean? And when recording with the HDV codec, does it matter? Thanks.
AAndromeda
2 Jan 2009 09:21
all i know is 4:4:4 is way better - not so compressed. no idea what the numbers mean.
ODesigns
2 Jan 2009 12:16
Basically, in 4:2:2 video, for every 4 pixels of luminance, there are 2 pixels of chrominance (referred to as the color space). So, in a nutshell, the color data is 1/2 the resolution of the black and white. This is pretty much the standard on NTSC TV right now.
4:1:1 has color data even more compressed. and 4:4:4 has NO color compression.
4:4:4 is the best for chroma keying, since the key depends on the color. 4:1:1 is the WORST for chroma keying. There are special effects plug-ins in After Effects that better deals with this type of keying, but I can't give away ALL my secrets....
MiniDV is 4:1:1
DVCAM is 4:1:1
DVCPRO25 is 4:1:1
DVCPRO50 is 4:2:2
DVCPRO100 (HD) is 4:2:2
Digital BetaCam is 4:2:2
Very few cameras record in 4:4:4, and they are pricey.
HDV is a new 4:2:0 format, which I don't quite understand yet. You'll never get 4:4:4 from your HDV camera, and I'm pretty sure no one submitting footage anywhere 'round these parts is using one that does. Even the new-and-hot RED ONE $20K+ camera delivers in 4:2:2.
4:1:1 has color data even more compressed. and 4:4:4 has NO color compression.
4:4:4 is the best for chroma keying, since the key depends on the color. 4:1:1 is the WORST for chroma keying. There are special effects plug-ins in After Effects that better deals with this type of keying, but I can't give away ALL my secrets....
MiniDV is 4:1:1
DVCAM is 4:1:1
DVCPRO25 is 4:1:1
DVCPRO50 is 4:2:2
DVCPRO100 (HD) is 4:2:2
Digital BetaCam is 4:2:2
Very few cameras record in 4:4:4, and they are pricey.
HDV is a new 4:2:0 format, which I don't quite understand yet. You'll never get 4:4:4 from your HDV camera, and I'm pretty sure no one submitting footage anywhere 'round these parts is using one that does. Even the new-and-hot RED ONE $20K+ camera delivers in 4:2:2.
dapoopta
2 Jan 2009 21:52
Thanks for the tip :-). I am just trying to figure out if it would make a difference in Premiere with my settings.
ODesigns
2 Jan 2009 23:00
Not if you're shooting HDV. You'd get no benefits. Your camera shoots 4:2:0. You can't make 4:4:4 out of 4:2:0.
jason
2 Jan 2009 23:08
Now it's getting a little deep for Scott.
dapoopta
3 Jan 2009 02:52
It always gets crazy deep around here Jason. Gotta get my boots. Wait... do you mean BS type deep? :-)
jason
3 Jan 2009 04:45
Technically deep.
AAndromeda
3 Jan 2009 14:09
By the way - it is possible to get 4:4:4 out of some mid-range cameras. I'm looking at getting one the devices from convergent design (which record onto compact flash card) to go with my Sony EX3. Might have to wait a little while though because they arent that cheap yet.
lpoland
3 Jan 2009 16:41
The better the chroma subsampling (4:4:4) the better the key for green screen work...because there is more green data.
Lathe
P.S.
AAndromeda,
Really? I thought Convergent Design makes analog 10 bit 4:2:2 possible...which one does 4:4:4? if its to expensive I'd think it would be better to buy a RED Scarlet that shoots 4:4:4 at 3k resolution (when they become available later this year)
Lathe
P.S.
AAndromeda,
Really? I thought Convergent Design makes analog 10 bit 4:2:2 possible...which one does 4:4:4? if its to expensive I'd think it would be better to buy a RED Scarlet that shoots 4:4:4 at 3k resolution (when they become available later this year)