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Theodore Lewis
Theodore Lewis

Full Hd Sport Kamera 1080p Or 1080i

1080i (also known as Full HD or BT.709) is a combination of frame resolution and scan type. 1080i is used in high-definition television (HDTV) and high-definition video. The number "1080" refers to the number of horizontal lines on the screen. The "i" is an abbreviation for "interlaced"; this indicates that only the even lines, then the odd lines of each frame (each image called a video field) are drawn alternately, so that only half the number of actual image frames are used to produce video. A related display resolution is 1080p, which also has 1080 lines of resolution; the "p" refers to progressive scan, which indicates that the lines of resolution for each frame are "drawn" on the screen in sequence.

full hd sport kamera 1080p or 1080i

1080i differs from 1080p, where the p stands for progressive scan, where all lines in a frame are captured at the same time. In native or pure 1080i, the two fields of a frame correspond to different instants (points in time), so motion portrayal is good (50 or 60 motion phases/second). This is true for interlaced video in general and can be easily observed in still images taken of fast motion scenes. However, when 1080p material is captured at 25 or 30 frames/second, it is converted to 1080i at 50 or 60 fields/second, respectively, for processing or broadcasting. In this situation both fields in a frame do correspond to the same instant. The field-to-instant relation is somewhat more complex for the case of 1080p at 24 frames/second converted to 1080i at 60 fields/second; see telecine.

Some cameras and broadcast systems that use 1080 vertical lines per frame do not actually use the full 1920 pixels of a nominal 1080i picture for image capture and encoding. Common subsampling ratios include 3/4 (resulting in 1440x1080i frame resolution) and 1/2 (resulting in 960x1080i frame resolution). Where used, the lower horizontal resolution is scaled to capture or display a full-sized picture. Using half horizontal resolution and only one field of each frame (possibly with added anti-alias filtering or progressive capture) results in the format known as qHD, which has frame resolution 960x540 and 30 or 25 frames per second. Due to the chosen 16x16 pixel size for a compressed video packet known as a macroblock as used in ITU H.261 to H.264 video standards, a 1080-line video must be encoded as 1088 lines and cropped to 1080 by the de-compressor. The 720-line video format divides perfectly by 16 and therefore does not require any lines to be wasted.

In the United States, there are two standard resolutions for cable TV broadcasts: 720p and 1080i. Much like 1080p, the number refers to the vertical resolution of the screen, 720 and 1080 pixels. The letter refers to either progressive scan or interlaced scan. Every TV sold today uses progressive scan, but they're also compatible with a 1080i signal.

In the end, 1080i and 720p end up using about the same amount of bandwidth, even if 1080i covers over twice as many pixels. This means that still images look sharper on 1080i, but it isn't perfect. As you can see in the pictures above with the Samsung Q9F, 720p looks much clearer with motion. This is why sports channels use 720p since fast-moving content may not look smooth with 1080i signals.

Another thing to consider is that nearly all new HDTVs you can buy today are capable of de-interlacing 1080i video signals so they look just like 1080p, which makes it even harder to notice a difference.

These days, 1080p and 1080i are old hat compared to the much more publicized 4K format available with most new HDTVs (often classed as UHD TVs). With 4K resolution, picture clarity is sharper and more colorful than ever. Consumers can also enjoy sitting quite a bit closer to their living room TV without noticing any sort of distortion in the image. This is because 4K TVs display close to four times the number of pixels as a standard 1080p set. Simply put, the more pixels on display, the better the picture quality. Better yet, most UHD sets will also upconvert a standard HD image, making your regular HD sources look closer to actual 4K.

OK, 720p is 1,280x720 pixels, running at 60 frames per second (fps). This is the format used by ABC, Fox, and their various sister channels (like ESPN). I've seen some reader comments in response to other articles I've written ridiculing ABC/Fox for this "lower" resolution, but that's unfair in two big ways. The first, in the late '90s when all this was happening, there were no 1080p TVs. Sure, we all knew they were coming, but it was years before they started shipping (now, almost all TVs are 1080p). The other big way was the sports. Both ABC and Fox have big sports divisions, which played a big role in their decision to go with 720p. This is because when it comes down to it, fast motion looks better at 60fps (more on this later).

When your TV is sent a 1080i signal, however, a different process occurs: deinterlacing. This is when the TV combines the two fields into frames. If it's done right, the TV repeats each full frame to create 60 "fps" from the original 30.

If only it were that easy (if that is even easy) However, there's a problem. Let's take the example of the sports from earlier. ABC and Fox very consciously made the choice to go with 720p over 1080i. As we said earlier, this largely wasn't based on some limitation of the technology or being cheap. It's that 1080i is worse with fast motion than 720p.

At 60 frames per second (720p), the camera is getting a full snapshot of what it sees every 60th of a second. With 1080i, on the other hand, it's getting half a snapshot every 60th of a second (1,920x540 every 60th). With most things, this isn't a big deal. Your TV combines the two fields. You see frames. Everything is happy in TV land.

Now this is where an argument about 1080p -- real 1080p -- becomes worthwhile. A full 60-frame-per-second 1080p video would be awesome. Not because it's a higher resolution than 1080i, but because it's a higher frame rate (and not interlaced), so motion will be more detailed. However, it's highly unlikely most people would ever see a difference. Compression artifacts in the source or edge enhancement in the display are far more detrimental to the image than deinterlacing. Reducing either of those two factors would have a bigger effect on the image. Check out "When HD isn't HD" for more info on that. So with full 1080p, the subtle increase in motion detail isn't likely to be noticed.

Nearly every Blu-ray on the market is 1080p/24, or 1,920x1,080 pixels at 24 frames per second. As we've discussed, this is actually less than 1080i. Of course, the average Blu-ray is much better-looking than your average 1080i signal (from cable/satellite, etc.). This is most often due to other factors, like compression. Once again, check out When HD isn't HD.

For that matter, Blu-ray isn't even capable of 1080p/60. At least, not yet. It maxes out at (wait for it) 1080i! Funny how that works. There are a few ways to get real 1080p/60 video, namely from a PC or by shooting it with a newer camcorder or digital still camera's video function, but even in those cases you can't burn the video to a Blu-ray for playback at 1080p/60.

Bottom line While 1080i and 1080p have the same number of pixels, they do have different frame rates (and one is interlaced). The reality is, other than PC games, there isn't any commercially available "real" 1080p content. It's either 1080i content deinterlaced by your TV, 1080p/24 content from Blu-ray, or upconverted content from console games.

That's not to say it wouldn't be great if we did have more 1080p/60 sources, but the slightly better motion detail would not be a huge, noticeable difference. In other words, you're not really missing out on anything with 1080i.

Between the two resolutions, there is an undisputed pixel-lighting champ. 1080p offers viewers a superior pixel resolution and image quality than an interlaced scan. However, many say that the differences are only noticed on rare occasions. But overall, the resolution of a 1080p display will come across as closer to real-life and be more vivid than 1080i. Additionally, if you have ever wondered what the differences between HD and full HD TVs are, we have a great article you can read. Also, if your TV is in a bright room, you may want to consider a model with a matte screen. You can learn more about the importance of this with our comparison of matte vs glossy TV screens.

The Ikegami HDK-73 is a dockable multi-role high-definition camera designed for SDR and HDR broadcast production. It is available as a complete system including CCU, connecting fiber, viewfinder, and remote control. Image capture is to 2/3-inch 2.6 megapixel CMOS sensors, each capable of capturing Full-HD 1920 x 1080 resolution images with a dynamic range of 600% in normal mode and an extremely wide 1200% in HLG mode, high sensitivity (F13 at 50 Hz), and high signal-to-noise ratio. The sensors natively support 1080i/59.94 and 1080i/50, as well as 720p/59.94 and 720p/50 scan formats. Major features include full digital signal processing, advanced digital detail correction with independent horizontal and vertical correction of red, green and blue signals, and optional anti-moiré filtering. Hybrid log gamma processing is operator-selectable for HDR picture origination, enabling high-contrast scenes to be televised with full picture detail across the entire brightness range from highlights, mid-range to shaded areas.

Our v4 firmware update adds more capabilities to our PVM-X family of 4K HDR production monitors: closed caption support, in-monitor display, parallel remote and more. New software license models also provide break-out options for the all-inclusive PVML-HXS1 license, including HDR to SDR, 4K to 2K, and 1080p to 1080i conversion. Plus the benefit of baked-in LUT output for streamlined operations in confined spaces.

The Marshall CV503 Full-HD Miniature Camera offers performance, flexibility, and value in a tiny form factor. Built around a next generation 2.5-Megapixel, 1/2.86-inch sensor, the CV503 delivers ultra-crisp, clear progressive Full-HD video up to 1920x1080p at 60/59/50fps and interlaced 1920x1080i at 60/59/50fps.The CV503 utilizes a full-sized BNC (3G/HDSDI) output on rear panel and locking I/O connection for power, control, and stereo audio input (embedded on 3G-SDI output). The CV503's threaded M12 lens mount offers a wide range of prime and varifocal lens options.The CV503 can capture detailed shots while maintaining an ultra-discreet miniature point-of-view perspective without sacrificing versatility or convenience. Remote adjustment and picture settings commands are delivered via common RS485 (Visca) or OSD menu joystick on locking breakout cable. A wide range of picture adjustment settings are available and adjustable from a distance including paint (red/blue), white balance, exposure, gain control, pedestal (blacks), white clip, gamma, and more.




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