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Images of standard resolution captured at rates faster than normal (60 frames/second North America, 50 fps Europe), by a high-speed camera may be considered high-definition in some contexts. Some television series shot on high-definition video are made to look as if they have been shot on film, a technique which is often known as filmizing.
Video super-resolution (VSR) is the process of generating high-resolution video frames from the given low-resolution video frames. Unlike single-image super-resolution (SISR) , the main goal is not only to restore more fine details while saving coarse ones, but also to preserve motion consistency.
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 ...
The quality the codec can achieve is heavily based on the compression format the codec uses. A codec is not a format, and there may be multiple codecs that implement the same compression specification – for example, MPEG-1 codecs typically do not achieve quality/size ratio comparable to codecs that implement the more modern H.264 specification.
The term is misleading, however, because it does not guarantee the set is capable of rendering digital video at all frame rates encoded in source files with 1920 X 1080 pixel resolution. Most notably, a "Full HD" set is not guaranteed to support the 1080p24 format, leading to consumer confusion .
The core of 1080i is its resolution. The resolution is 1920x1080 pixels. This means that each video frame has 1,920 pixels horizontally and 1,080 pixels vertically. This results in over two million individual pixels per frame. This high resolution is why 1080i is called "high-definition".
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 ...
This document outlines the frame rates and resolutions that can be used in high frame rate digital theatrical presentations with currently available equipment. In the case of cinema shot on film, as opposed to (whether analog or digital) video, HFR offers an additional benefit beyond temporal smoothness and motion blur.