Apple ProRes 422 LT is a more highly compressed codec than Apple ProRes 422, with roughly 70 percent of the data rate and 30 percent smaller file sizes. This codec is perfect for environments where storage capacity and data rate are at a premium. The target data rate is approximately 102 Mbps at 1920x1080 and 29.97 fps.
Apple ProRes 422 Proxy is an even more highly compressed codec than Apple ProRes 422 LT, intended for use in offline workflows that require low data rates but full-resolution video. The target data rate is approximately 45 Mbps at 1920x1080 and 29.97 fps.
1080p video signals are supported by ATSC standards in the United States and DVB standards in Europe. Applications of the 1080p standard include television broadcasts, Blu-ray Discs, smartphones, Internet content such as YouTube videos and Netflix TV shows and movies, consumer-grade televisions and projectors, computer monitors and video game consoles. Small camcorders, smartphones and digital cameras can capture still and moving images in 1080p resolution.
Any screen device that advertises 1080p typically refers to the ability to accept 1080p signals in native resolution format, which means there are a true 1920 pixels in width and 1080 pixels in height, and the display is not over-scanning, under-scanning, or reinterpreting the signal to a lower resolution. The HD ready 1080p logo program, by DIGITALEUROPE, requires that certified TV sets support 1080p 24 fps, 1080p 25 fps, 1080p 50 fps, and 1080p 60 fps formats, among other requirements, with fps meaning frames per second. For live broadcast applications, a high-definition progressive scan format operating at 1080p at 50 or 60 frames per second is currently being evaluated as a future standard for moving picture acquisition. Although 24 frames per second is used for shooting the movies.[needs update] EBU has been endorsing 1080p50 as a future-proof production format because it improves resolution and requires no deinterlacing, allows broadcasting of standard 1080i50 and 720p50 signal alongside 1080p50 even in the current infrastructure and is compatible with DCI distribution formats.[needs update]
1080p50/p60 production format requires a whole new range of studio equipment including cameras, storage and editing systems, and contribution links (such as Dual-link HD-SDI and 3G-SDI) as it has doubled the data rate of current 50 or 60 fields interlaced 1920x1080 from 1.485 Gbit/s to nominally 3 Gbit/s using uncompressed RGB encoding. Most current revisions of SMPTE 372M, SMPTE 424M and EBU Tech 3299 require YCbCr color space and 4:2:2 chroma subsampling for transmitting 1080p50 (nominally 2.08 Gbit/s) and 1080p60 signal. Studies from 2009 show that for digital broadcasts compressed with H.264/AVC, transmission bandwidth savings of interlaced video over fully progressive video are minimal even when using twice the frame rate; i.e., 1080p50 signal (50 progressive frames per second) actually produces the same bit rate as 1080i50 signal (25 interlaced frames or 50 sub-fields per second).
EBU requires that legacy MPEG-4 AVC decoders should avoid crashing in the presence of SVC or 1080p50 (and higher resolution) packets. SVC enables forward compatibility with 1080p50 and 1080p60 broadcasting for older MPEG-4 AVC receivers, so they will only recognize baseline SVC stream coded at a lower resolution or frame rate (such as 720p60 or 1080i60) and will gracefully ignore additional packets, while newer hardware will be able to decode full-resolution signal (such as 1080p60).
In the United States, 1080p over-the-air broadcasts are currently available in select stations in some cities in the US via ATSC 3.0 multiplex stations where as ATSC 3.0 is currently rolling out throughout the U.S. The majority of the stations that broadcast at 1080p are CBS and NBC stations and affiliates. All other stations do not broadcast at 1080p and usually broadcast at 720p60 (including when simulcasting in ATSC 3.0) or 1080i60 (outside of ATSC 3.0) encoded with MPEG-2. There is also technical restrictions with ATSC 3.0 multiplex stations that prevent stations from airing at 1080p. While converting to ATSC 3.0 is voluntary by TV Stations, there is no word when any of the major networks will consider airing at 1080p in the foreseeable future on a national scale, although they are required to broadcast ATSC signals for at least five years thereafter. However, satellite services (e.g., DirecTV, XstreamHD and Dish Network) utilize the 1080p/24-30 format with MPEG-4 AVC/H.264 encoding for pay-per-view movies that are downloaded in advance via satellite or on-demand via broadband. At this time, no pay service channel such as USA, HDNET, etc. nor premium movie channel such as HBO, etc., stream their services live to their distributors (MVPD) in this format because many MVPDs, especially DBS and cable, do not have sufficient bandwidth to provide the format streaming live to their subscribers without negatively impacting their current services.
Blu-ray Discs are able to hold 1080p HD content, and most movies released on Blu-ray Disc produce a full 1080p HD picture when the player is connected to a 1080p HDTV via an HDMI cable. The Blu-ray Disc video specification allows encoding of 1080p23.976, 1080p24, 1080i50, and 1080i59.94. Generally this type of video runs at 30 to 40 megabits per second, compared to the 3.5 megabits per second for conventional standard definition broadcasts.
Several websites, including YouTube, allow videos to be uploaded in the 1080p format. YouTube streams 1080p content at approximately 4 megabits per second compared to Blu-ray's 30 to 40 megabits per second. Digital distribution services like Hulu and HBO Max also deliver 1080p content, such as movies available on Blu-ray Disc or from broadcast sources. This can include distribution services like peer-to-peer websites and public or private tracking networks. Netflix has been offering high quality 1080p content in the US and other countries through select internet providers since 2013.
As of 2012, most consumer televisions being sold provide 1080p inputs, mainly via HDMI, and support full high-definition resolutions. 1080p resolution is available in all types of television, including plasma, LCD, DLP front and rear projection and LCD projection. For displaying film-based 1080i60 signals, a scheme called 3:2 pulldown reversal (reverse telecine) is beginning to appear in some newer 1080p displays, which can produce a true 1080p quality image from film-based 1080i60 programs. Similarly, 25fps content broadcast at 1080i50 may be deinterlaced to 1080p content with no loss of quality or resolution.
Blackmagic RAW is a revolutionary format designed to capture the quality of sensor data from cameras. Video Assist supports Blackmagic RAW recording from Leica, Panasonic, Fujifilm, Nikon, Canon and Sigma cameras. Popular camera formats such as H.264 are highly compressed resulting in noise and processing artifacts. Blackmagic RAW eliminates these problems so you get incredible detail and color throughout the production pipeline from camera to edit, color and mastering. It also saves camera settings in metadata so you can set ISO, white balance and exposure, then override them later while editing. Only Blackmagic RAW gives you the highest quality, smallest files and fastest performance!
Now you can live stream using both Blackmagic Video Assist 3G and 12G HDR models with new webcam support added to the USB connection! That means you can plug into a computer and get live video into any video software. The software is tricked into thinking video assist is a common webcam! Plus you get full HD resolution 1080p quality! Choose any software you like, such as Open Broadcaster for live broadcast streaming, or you can Skype call your client with live video of your shoot! Blackmagic Video Assist works with all major software and platforms such as Open Broadcaster, XSplit Broadcaster, YouTube Live, Facebook Live, Skype, Zoom, Twitch, Periscope, Livestream, Wirecast and more!
You get full support for the most popular video standards. The SDI and HDMI connections are multi-rate, so all models handle SD and HD television standards plus the 12G models add extra support for Ultra HD standards. Standard definition formats include NTSC and PAL. 720p HD standards include 720p50 and 59.94p. 1080i HD interlaced formats include 1080i50 and 59.94. 1080p HD formats include 1080p23.98, 24, 25, 29.97, 30, 50, 59.94 and 60p. Plus you can even work in 1080 PsF formats. On the Blackmagic Video Assist 12G models you also get support for Ultra HD formats up to 2160p59.94. On these 12G models you can even record 2K and 4K DCI rates up to 25p for digital film work!
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3D Capability: The H5360 supports 3D display using either the NVIDIA 3D Vision system or the Texas Instruments DLP Link 3D system. I tested it with 3D gaming and using the NVIDIA system and with 3D Blu-Ray source material using the latest release of PowerDVD10 Ultra. The NVIDIA 3D Vision system uses the EDID (Extended Display Identification Data) to identify if a display is supported. This led to some setup issues since my HDMI switch (a Denon AVR) does not pass through EDID data. So when the H5360 was connected through the Denon, the NVIDIA system did not recognize it as a supported display. Additionally, I normally use a single HDMI cable for audio and video out from the HTPC. My only solution was to connect video direct from the HTPC to the H5360 and connect a separate analog audio output from the HTPC to the receiver. Users should plan on a direct connection from HTPC to the H5360 or on the use of a passive HDMI switch.Once the H5360 and HTPC were connected directly, the NVIDIA setup process was nearly seamless (very straightforward compared to using an unsupported display) and was completed in a few minutes. I was able to use the most recent drivers with the H5360 as compared to an older driver set that is required for an unsupported display. The H5360 switches to a specific image preset when the 3D mode is activated - it appears that this mode adjusts the color balance to take into account the slight color shift due to active shutter glasses. As is typical, switching to 3D mode results in a significant decrease in light output - the H5360 output drops to 698 ANSI-lumens in either the NVIDIA 3D or DLP Link modes. On the positive side, brightness, contrast, color and gamma controls can be adjusted to optimize the balance between shadow detail and black level when in either 3D mode. I recently reviewed an XGA resolution BenQ projector that supports the NVIDIA 3D Vision System. The largest advantage of the H5360 in 3D, in addition to the easier setup, is the HD level resolution. The higher resolution of the H5360 and corresponding increase in detail accentuated the impression of depth and overall immersion into the game. I found the impact of 3D gaming on the H5360 very impressive.A major limitation to evaluating 3D video performance to date has been limited source material. Up to my experience with the 3D Blu-Ray of "Cloudy with a Chance of Meatballs", all 3D video material was downloaded form the internet and suffered from low resolution or was highly compressed. Seeing properly mastered source material at the full bit rate provided by Blu-ray was simply the best 3D I experienced on the H5360. The excitement started from the opening frames, seeing the Columbia Pictures logo (the woman holding a torch and draped in the American Flag) extend into the screen was a great indication that this film experience was going to be something special. The Cloudy plot and animated content was a great fit for the 3D treatment; I feel that watching this film in 3D added to the overall experience. Early in the film, the protagonist attempts to 'generate' a cheeseburger using an invention of his own design. Viewing this scene in 3D bring a much greater sense of being in the action as object starts to materialize directly in the foreground. Comparatively, watching the same scene in 2D had a more observatory and disconnected feel.However, the benefit of 3D is not without tradeoffs. A 720p display has less than one-half of the pixels as a full HD 1080p display. In addition, the light loss from the 3D mode and the light loss due to the active shutter glass system is significant. The glasses also had a noticeable impact to overall color fidelity when watching the Blu-ray content. Colors when viewing with the 3D glasses off were more saturated and crisper. Ultimately, I found the negatives to be more of an issue with gaming as compared to the Blu-ray experience. I am not ready to give up 2D gaming at 1080p for 3D at 720p. However, I can honestly say that the 3D effect makes it a close call. This speaks well for the performance of the H5360 since I am comparing it to a 1080p projector at 3-4 times the price. Comparatively, I found the 3D experience that Blu-ray provides to be well worth the trade-offs. Given the opportunity, I would not hesitate to view new content in 3D using the Acer H5360. The experience of this relatively early stage of 3D Blu-ray was quite impressive. Cost of Ownership: At under $700 from reputable on line retailers, the Acer H5360 represents a very low cost option for one's first step into the new 3D universe. It can easily support screen diagonals greater than 100 inches in theater lighting conditions. 3D flat screens at the 50-inch range are over double the cost of the H5360. So the H5360 represents a first-rate value considering a 100-inch diagonal image is over 4 times the viewable area of a 50-inch diagonal image. In addition to its low price, replacement bulbs can be found for around $200, which is lower than average for this class of equipment. Input Options: The H5360 includes a VGA analog input and component, S-video and composite video inputs. It includes an HDMI input that will allow the projector to reproduce video and audio from a digital source. The sole analog audio input is a 3.5mm input jack. The H5360 also includes a Kensington security lock slot. 2b1af7f3a8