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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 segments on DVD and Blu-ray. 1999 The Blair Witch ...
The introduction of color television technology made it necessary to lower that 60 FPS frequency by 0.1% to avoid "dot crawl", a display artifact appearing on legacy black-and-white displays, showing up on highly-color-saturated surfaces. It was found that by lowering the frame rate by 0.1%, the undesirable effect was minimized.
60 fps typically, some gaming monitors can do up to 540 fps; internally, display refreshed at up to 540 fps [18] [19] 60 fps typically, some can do 120 fps; internally, display refreshed at e.g. 480 or 600 fps [20] 60 fps typically. Up to 480 fps. [21] Flicker: Perceptible on lower refresh rates (60 fps and below) [22]
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.
In the case of filmed material, as 120 is an even multiple of 24, it is possible to present a 24 fps sequence without judder on a well-designed 120 Hz display (i.e., so-called 5-5 pulldown). If the 120 Hz rate is produced by frame-doubling a 60 fps 3:2 pulldown signal, the uneven motion could still be visible (i.e., so-called 6-4 pulldown).
For a fixed bandwidth, interlace provides a video signal with twice the display refresh rate for a given line count (versus progressive scan video at a similar frame rate—for instance 1080i at 60 half-frames per second, vs. 1080p at 30 full frames per second). The higher refresh rate improves the appearance of an object in motion, because it ...
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.
Comparison of a slow down video without interframe interpolation (left) and with motion interpolation (right) Motion interpolation or motion-compensated frame interpolation (MCFI) is a form of video processing in which intermediate film, video or animation frames are generated between existing ones by means of interpolation, in an attempt to make animation more fluid, to compensate for display ...