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GoPro HERO3+ Black Edition (slim) - , 4K (15 fps) and DCI 4K (12 fps), fixed "Ultra Wide" field of view; GoPro HERO4 (2015) - 4k at up to 30fps (black edition) GoPro HERO5 (2016) - 4k at up to 30fps (black edition) and added a USB-C Port and Touchscreen; GoPro HERO6 (2017) - 4k at up to 60fps (black edition) and improved EIS (Electronic Image ...
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 Project: Daniel Myrick, Eduardo Sanchez: English Shot on Hi8 in interlaced 60 fps, with some scenes shot on 16 mm film in 24 fps. Shown ...
[80] [81] Video output can be DCI 4K (4096 × 2160), 4K Ultra HD, 1080p, and 720p at frame rates of up to 60 fps with a color depth of up to 12 bpc with 4:2:2 chroma subsampling. [80] Audio output can be up to 7.1 channels. [80] Content is distributed online using the ODEMAX video service. [80]
Typically less than 0.01 ms, as low as 2 μs, [10] [14] but limited by phosphor decay time (around 5 ms) Estimates varying from under 0.01 ms to as low as 1 μs. [15] [16] Frame rate (refresh rate) 60–85 fps typically, some CRTs can go even higher (200 fps at reduced resolution [17]); internally, display refreshed at input frame rate speed
These may also use other aspect ratios by cropping otherwise black bars at the top and bottom which result from cinema aspect ratios greater than 16∶9, such as 1.85 or 2.35 through 2.40 (dubbed "Cinemascope", "21∶9" etc.), while the standard horizontal resolution, e.g. 1920 pixels, is usually kept.
This means that the display is not over-scanning, under-scanning, or reinterpreting the signal to a lower resolution. The HD ready 1080p logo program, by DigitalEurope, requires that certified TV sets support 1080p 24 fps, 1080p 25 fps, 1080p 50 fps, and 1080p 60 fps formats, among other requirements, with fps meaning frames per second. For ...
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.
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.