so I have Avermedia live gamer HD lite capture card which I use to record Xbox one gameplay which does 720p 60 fps or 1080p 30 fps which one should I record at. I mostly play batman arkham knight and halo MCC and halo 5 when it comes out.
I would go 720p 60fps. The difference between 720p and 1080p is not that noticeable on youtube IMO, but 60fps compared to 30fps is very noticable on YouTube. I recently picked up an Elgato HD 60 Pro and don't regret it. So it's good that you are picking up one soon. I've owned almost 10 capture cards over the past half a decade or so, & this is my first 1080p 60fps card. It's honestly impressive how great and smooth it looks. To answer your question again though I would go 720p60fps.
Twitch recommends different bitrate settings based on your chosen resolution and framerate (frames per second, or fps). The most common resolution options on Twitch are 1080p and 720p, at 60 fps or 30 fps.
In a Cisco presentation a couple of weeks ago, which was held by an ex-Acano guy I think, he hammered a lot on prefering 720p60 over 1080p30. According to him, this is because the quality difference between 720p and 1080p is minimal on screens below 55", whereas occasional framedrops can really be disturbing on 30fps but not on 60fps, where it will still look smooth as butter.
I wanted to see how this would work in a real-life situation, by trying to set a preference of 720p60 on all video devices (SX10/20, MX300/700 mostly) where possible. All video devices are connected to CUCM, and we are using CMS as the meeting platform. When trying to tweak the fps, I couldn't find this setting anywhere in CUCM. I also cannot change this setting using TMS, because TMS can't really change many settings on CUCM-registered devices.
The argument for one over the other will largely depend on the actual content of the video - ie, what you are trying to transmit. If it's fast moving video, then the 720p60 will be better, but if you need a clearer image of something that is relatively still, then the 1080p30 would be the way to go.
You must evaluate your network connection to determine whether it is strong enough to support your stream at your desired resolution. Streaming at 1080p60 requires more bandwidth than streaming at 1080p30 or 720p60. We recommend only dedicating 50% of your upload speed to your stream in case your connection suddenly becomes unstable or you encounter unexpected interference from sending across the internet to the streaming platform.
The encoded frame rate also affects the required bitrate. When streaming sports you could encode a 60 frames per second (fps) stream at 1080p60 or 720p60; for lower motion events like lectures or conferences, encoding and sending 60 fps may not provide a visible benefit, but requires significantly more bandwidth than streaming at the more common 30 fps. Not all online streaming platforms can accept a 60 fps stream, and not all viewers can handle receiving 60 fps, so be sure to take that into consideration.
Streaming live video can take up a lot of bandwidth. Just how much will depend on several factors. Encoding matters, but so does the type of content you want to stream. Platforms play a part, as do the resolution (expressed in pixels, or p) and the frame rate (frames per second, or fps) of your stream.
For streaming on most platforms, you really only need between 2 Mbps and 15 Mbps maximum. If you want to stream in 4k at 60 frames per second (which is only available on YouTube), then you might need 30 Mbps.
For Movie content originally shot at 1080p/24-25Hz, left and right progressive fields are alternately transmitted each at 24/25 Hz for a complete 3D frame and a total data rate of 1080p/48-50 Hz. This means that the 24/25 Hz information is doubled and alternated for each left and right image.
The resolutions your video converts to will depend largely on if the larger dimension or the smaller dimension of your source video meets the minimum requirements noted for each resolution below. These conversion specifications apply for videos that you upload as well as videos that were streamed live and archived, although please note that archived live videos will not exceed 1080p60.
When I shoot Sony HDCAM for slomo I shoot 59.94i. The post house I use then does their magic, turning fields into frames then outputting back to 23.98psf. So, the material being filmed out is progressive. I have not been able to see slomo tests on film yet. I did however get to see some of my tests digitally projected on a "big" screen (the Paramount theatre, for those of you who know Austin), I was very impressed. No noticeable resolution difference from the non slomo HD material. I have a couple of projects coming up this year (fingers crossed) that will require slomo film out tests. I'll let the list know the results. Ian Ellis DOP Austin TX 600 op f-900/3 owner www.texashighdef.com
Doesn't turning fields into frames cut the resolution in half? This may be more of a factor for film-out than for SD video presentation. I think the 720p/60 Varicam is the obvious choice for off-speed HD work. Best regards, Leo Ticheli Director/Cinematographer Birmingham/Atlanta
>Doesn't turning fields into frames cut the resolution in half? I think the >720p/60 Varicam is the obvious choice for off-speed HD work. Precisely, the interlace frame integration which uses a Field 1, Field 2 sequenced/interpolated (Field 1, Line 1; Field 2, Line 1; Field 1, Line 2; Field 2, Line 2 etc.) line structure is the culprit; it was the form of analog compression that enabled the use of 6 Mhz channel bandwidth for broadcasting, but, since all compression schemes are lossy (to some degree!), this may be the most damaging of all compression schemes. Hence the efficacy of any Progressive format over any Interlace format for off-speed (or any other) work. GEORGE C. PALMER
Leo Ticheli wrote ; >Doesn't turning fields into frames cut the resolution in half? This may be >more of a factor for film-out than for SD video presentation. I'm not ready to say what the obvious choice is until I have seen results from both. I know there are post guys on this list that have seen Sony slomo results. Comments? I would be interested in getting a somewhat detailed description of what is happening in the process from 1080i to 29.98psf. The good folks at Victory Studios do my slomo work. Ian Ellis DP Austin TX 600 op f900/3 owner
Leo Ticheli writes: >Doesn't turning fields into frames cut the resolution in half? I've used both 1080i/60 and 720p/60 in motion pictures where they were then printed to film. While the 720P/60 was essentially good-to-go, we ran the 1080i/60 through the Magic Bullet process which interpolates the interlace offset and actually repositions the picture information on the odd interlace. It does not reduce the resolution to any degree that I have noticed. Obviously, the 1080p prints "bigger" than the 720p, but other than that its just a matter of data management. Additionally, I would like to add that there are some really cool/spooky algorithms out there that do a wonderful job of changing the time base of your HD footage. In a recent show for Discovery Channel about the Krakatoa volcano, we took 35 mm film that was shot at 24fps, transferred it to 1080p/24 and ran the sequence through Boris Continuum (Twixtor is also quite good) to create an effective frame rate of 200fps. Obviously, the over-cranked effect made the waves we were working with look much, much bigger but the amazing thing is that you just can't tell which frames were original and which frames are math. We are talking about waves with lots of spray, reflections and little clumps of foamy stuff. We even keyed the clear blue sky out from the crest spew of the wave and inserted a more ominous element. Math is good. Scott Billups - LA
David Stump wrote: >While you are at it, test the Viper... I think it can do 60p" But at 720P it can only do 60P. Not the 4 frames to 60 frames that the Varicam can do. The Viper will certainly do a great job of shooting 60 frames per second. Bill Hogan
Within the live stream processing pipeline, the transcoder module is in charge of converting an incoming RTMP stream into the HLS format with multiple variants (e.g., 1080p, 720p, etc.). These variants have different bitrates so that viewers with different levels of download bandwidth are able to consume live video streams at the best possible quality for their connection.
Suppose we are receiving the most widely used video compression standard of H.264 in RTMP at 6mbps and 1080p60 (resolution of 1920 by 1080 with a frame rate of 60 frames per second). We want to generate 4 HLS variants of:
x264opts specifies libx264 specific options. Here, IDR interval should be 2 * your desired FPS, so 720p60 would yield an IDR interval of 120 while 720p30 would require an IDR interval of 60. No-scenecut is used to disable scene change detection
In the above example, if we want to transmux an input 1080p60 RTMP source to HLS, we can actually use the above commands without specifying a size or target FPS and specifying copy for the codecs (to avoid decoding and re-encoding the source):
The two transcoded variants 720p60 and 720p30 in this example can share one scaler. As gathered from experiments, scaling is a very computationally expensive step in the transcoding pipeline. Avoiding the unnecessary repeated scaling process altogether can significantly optimize the performance of our transcoder. Figure 8 depicts a threading model of combining the scalers of 720p60 and 720p30 variants. 2b1af7f3a8