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Shot on digital video in interlaced 50 fps. Shown in cinemas in 24 fps. The original 50 fps presentation is not in any home video release. Love & Pop: Hideaki Anno: Japanese: 60 Shot on digital video in interlaced 60 fps, with some scenes shot on 35 mm movie film in 24 fps. Shown in cinemas in 24 fps and in interlaced 60 fps with 24 fps ...
Elemental provided live video streaming of the 2013 Osaka Marathon on October 27, 2013, in a workflow designed by K-Opticom, a telecommunications operator in Japan. Live coverage of the race in 4K HEVC was available to viewers at the International Exhibition Center in Osaka. This transmission of 4K HEVC video in real-time was an industry-first ...
Uncompressed video is digital video that either has never been compressed or was generated by decompressing previously compressed digital video. It is commonly used by video cameras, video monitors, video recording devices (including general-purpose computers), and in video processors that perform functions such as image resizing, image rotation, deinterlacing, and text and graphics overlay.
Samsung NX500 - Same 28 MP APS-C sensor as NXI but 4K video is not downsampled from 6.5K so less details and more noise than the NX1 - with this 2.4× crop factor the kit lens become a 38–120mm f8.5–13.4 equivalent for depth of field; 15 min max recording time limit
The video encoding was done for entertainment applications and twelve different bitrates were made for the nine video test sequences with a HM-8.0 HEVC encoder being used. Of the nine video test sequences, five were at HD resolution, while four were at WVGA (800×480) resolution. The bit rate reductions for HEVC were determined based on PSNR ...
Frame rate up-conversion (FRC) is the process of increasing the temporal resolution of a video sequence by synthesizing one or more intermediate frames between two consecutive frames. A low frame rate causes aliasing, yields abrupt motion artifacts, and degrades the video quality. Consequently, the temporal resolution is an important factor ...
In early cinema history, there was no standard frame rate established. Thomas Edison's early films were shot at 40 fps, while the Lumière Brothers used 16 fps. This had to do with a combination of the use of a hand crank rather than a motor, which created variable frame rates because of the inconsistency of the cranking of the film through the camera.
GoPro, Sony, and other action camera competitors record video at 1080p and 2.7k at 120 fps, 720p and 1080p at 240 fps, and 4k at 60 fps. Although the video formats were designed for slowing down in post-production, the cameras generally record very high frame rates [ 7 ] in high definition with generally clear audio.