Camera Frames

This picture looks strange in stop-frame and very uncomfortable in the computer processing in the manufacture of complex special effects. But if the frequency following training is equal to 25 Hz in pal, secam, and almost 30 Hz in ntsc, then the frequency of the fields twice and is already 50 and 60 Hz respectively. Increasing the frequency leads to the fact that movement on the screen looks more smoothly, without jerks. This is especially benefit significantly when moving high-contrast objects and panning. Restrictions on the rate of rotation of the camera in the cinema (where the shots replace each other with a frequency of 24 Hz) interlaced video can be painlessly than doubled.

Increased aversion to interlace may be due to several reasons. Video production: if the 3D-animation need only tick the box 'to fields' before final rendering, the two-dimensional animations have been drawing for each second for 50 frames and then assemble them into 25, using only the odd lines of odd frames and even-numbered lines – even. complicated. For 'fair' interlaced video source material must be removed at 50 full frames per second, not everyone can – even a professional – the camera. Proceed as in the case of 2D-animation. But usually come easier: either remove the 25p (progressive scan, video cameras are much more common than 50p), or treated with interlaced video filters 'de-interlace', which, however, reduces vertical sharpness twice. Transfer video: video compression algorithms are very sensitive to a large number of small elements in the image and the horizontal notch edges of moving objects have a thickness of just one line.

Comments are closed.