![]() To make the ≈23.976 fit in a more standard ≈59.94i television rate, telecine performs a complex assignment to make pieces of the original frames “fit” into ≈59.94 fields, some of which contain the same temporal information and others don’t. (In the case of HDMI, shy 1080p cameras in ≈23.976p use a telecine method with a 2:3 (aka 3:2) pulldown explained ahead.) This rare case is outside the scope of this article. The third PsF case is very rare nowadays and never happens with HDMI, but only with some SDI and with very expensive cameras, where with the ≈23.976p (aka ≈23.98p) rate the camera sadly outputs the signal as PsF (progressive segmented frame), in other words, disguised as 47.952. ![]() Similarly, when the shy camera is set to image (and record internally) with a common progressive framerate (in ex PAL regions) like 25p, it sadly outputs it the signal as PsF (progressive segmented frame), in other words, disguised as 50i.Unlike true 1080i -where each field can potentially have different temporal (time) information when there is movement, with PsF the temporal information of each artificial field is always identical. To be more specific, it takes each progressive frame and segments it into two artificial fields, each with half of the original pixel resolution and each with 540 intertwining lines to add up to the original 1080. When the shy camera is set to image (and sometimes also to record internally) with a common progressive framerate (in ex NTSC regions) like ≈29.97p, it sadly outputs the signal as PsF (progressive segmented frame), in other words, disguised as ≈59.94i.I am separating PsF (progressive segmented frame) into three subcategories: (Later in this article, I’ll introduce the newer concept of camera framerate shyness over USB.) Type 1: PsF (progressive segmented frame) There are three types of 1080p shyness in cameras over HDMI, in order of importance: PsF, Telecine and Doubling. Refresher about the three types of “shy” camera situations over HDMI This article is focused on live or live-to-drive production at lower framerates between ≈23.976p and ≈29.97p (including 25p). Of course, even higher framerates are available with the ZV-1 for super slow motion, but that goes beyond the scope of this particular article. ≈23.976p (available with the ZV-1 but sadly rounded to “24” and subject to intermittent shyness in some cases).24p exact (not available with the ZV-1 as of firmware 2.0).25p (available with the ZV-1 even in the United States, but subject to shyness in some cases).≈29.97p (available with the ZV-1, but sadly rounded to “30” in the menus and subject to shyness in many cases).That’s why, if you are covering only talking heads for web streaming, you are better off with a lower framerate like: Given a limited bandwidth budget, each frame will need to compressed more to achieve the extra frames per second. If you are only covering talking head heads, it is a tremendous waste of bandwidth to use such high framerates. There is when it is justifiable to use high framerates like 50p or ≈59.94p in final delivery. Six requests for Sony for future firmware updates in the ZV-1Īs I have covered before, the only justification for higher framerates in final delivery is if you are if you are covering fast action like sports or gaming.Recommended ZV-1 workarounds as of firmware 2.00.Shy/outgoing modes in the Sony ZV-1, via USB.Shy/outgoing modes in the Sony ZV-1, via HDMI 1080p.The reality of streaming in 2021: Why not stream 4K live….Refresher about the three types of “shy” camera situations over HDMI.Then I’ll offer workarounds for users and requests for Sony for future firmware updates and share my two favorite ZV-1 reviews so far from colleagues. Ahead you’ll see a refresher of the three types of camera shyness, and then cover each one with the Sony ZV-1. Camera framerate shyness is a critical detail to understand -and often to resolve- in order to have and retain the desired native framerate when using the ZV-1 as a camera or streamcorder (not as a camcorder), in order to avoid one of the two major downsides of camera shyness: undesired de-interlacing (which is damaging to picture quality and often adds latency) or a tremendous waste of bandwidth, which ends up compressing each frame excessively and without justification. Since I currently don’t have any contacts at this Sony division, I actually rented the ZV-1 for a week in order to research these details. However, so far, I have seen zero coverage of the ZV-1’s framerate shyness and outgoing modes via HDMI and USB as of firmware version 2.00. The Sony ZV-1 camera/camcorder/streamcorder is quite intriguing and has been covered in many reviews by many tech journalists.
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