How do I create a function to process each millisecond? - page 6
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Pictured... Tomorrow, one day only, in all cinemas in the city the new Hollywood blockbuster Snail, hurry up, don't miss it, first viewers get a discount!
Maybe it would be enough if all the movies were about snails... but there's a problem with them too, they sometimes pop up quickly, sometimes fall quickly and sink, sometimes they let out an air bubble.
that's exactly the way it is, so sometimes you have to believe that "no fools" have calculated the optimal number of frames per second and all frame reduction tasks only make sense in specific cases - in "snail attack" blockbusters, download on torrents the size from 1Kb
)))
If anyone should have read something, it should have been you, something about the basics of cinema and television, at least at a child's level.
I mean, now you're not arguing that you shoot everything at 50-60 fps.) (minimum)
I mean, now you're not arguing that everything shoots at 50-60 fps)
Already wrote four standard frequencies at which everything is filmed now, I repeat: 24, 25, 30, 33
Exactly so, so sometimes you have to believe that "no fools" have calculated the optimal number of frames per second and all frame reduction tasks only make sense in specific cases - in "snail attack" blockbusters, download on torrents the size from 1Kb
)))
In fact, if you set the snail shot at 3 fps and shoot it with a second camera at 24 fps - the difference is obvious. At 24, you'll see smooth micro-movements in the close-up, while at 3 there simply won't be any. Perception will be "robbed".
I've already written about the four standard frequencies at which everything is being filmed now, I repeat: 24, 25, 30, 33?
let me read about these standards)
I agree with Dimitri. There is a limit to human perception. This limit is obvious - 24 frames per second. That is, if you "cram" in more frames, a person will not notice the difference. He'll only notice it if he slows down the speed of the film. So it's back to 24 frames again.
I can see that, but I can assure you that the human eye is the hardest working sense organ and at the same time the most deceptive sense organ.
do not want to google, youtube a lot of videos that describe the principles of information from the eyes to the brain, one method of creating a picture of the eye - it is constantly moving the eye when observing the object by man - it is basically scanning the object because the brain itself can not in one frame sent to the eye to assess all the details of the object, and the larger the object the longer the process of information acquisition, but this process is not infinite, there comes a time when the brain refuses to receive new information from the eyes....
... there is also a point that information received from the eyes to the brain is reversed and our perception up/down is an experience acquired in infancy
.... well it is a science of transmitting visual information to man, I saw an article somewhere about the difference between a movie camera and an amateur camera - it is a science there too, like the distortion factor in the corners of movie cameras is specially distorted to add the effect of panorama
It's a solution to the flicker problem, not the naturalness of the motion transmission.
and about "flicker" problems as well)
what kind of problems are these?
even the wiki has information:Frame_frequency
16 — стандартная частота съёмки и проекции немого кинематографа;
18 is the standard shooting and projection frequency of the amateur format "8 Super";
23.976 (24×1000÷1001) is the telecine projection frequency in the American 525/60 decomposition standard used for lossless interpolation;
24 is a worldwide standard for cinema and projection frequencies;
25 - filming frequency used in production of TV films and TV reports for conversion into the European standard 625/50 decomposition. It was also used in Soviet panoramic cinema system "Kinopanorama";
26 is the shooting and projection frequency of the Cinerama panoramic cinema system[13];
29.97002616 (30×1000÷1001) - exact frame rate of NTSC colour television standard;
30 is the shooting and projection frequency of an early version of the Todd-AO large-format cinema system;
48 - shooting and projection frequency of "IMAX HD" and "Maxivision 48" cinema systems;
50 - European standard semi-frame rate. Used in electronic cameras for HDTV;
59.94 (60×1000÷1001) - NTSC colour TV standard frame rate and frame rate of some HDTV standards;
60 - film frequency of American standard HDTV and Showscan system[14].
even the wiki has information:Frame_frequency
16 is the standard shooting and projection frequency of silent cinema;
18 is the standard shooting and projection frequency of the amateur format "8 Super";
23.976 (24×1000÷1001) is the American 525/60 telecine projection frequency used for lossless interpolation;
24 is a worldwide standard for cinema and projection frequencies;
25 - filming frequency used in production of TV films and TV reports for conversion into the European standard 625/50 decomposition. It was also used in Soviet panoramic cinema system "Kinopanorama";
26 is the shooting and projection frequency of the Cinerama panoramic cinema system[13];
29.97002616 (30×1000÷1001) - exact frame rate of NTSC colour television standard;
30 is the shooting and projection frequency of an early version of the Todd-AO large-format cinema system;
48 is the shooting and projection frequency of the "IMAX HD" and "Maxivision 48" cinema systems;
50 - European standard semi-frame rate. Used in electronic cameras for HDTV;
59.94 (60×1000÷1001) - NTSC colour TV standard frame rate and frame rate of some HDTV standards;
60 is the frame rate of American standard HDTV and Showscan system[14].
And another question - how with 24 frames, you get 50 different half-frames in analogue broadcasting.
Once again, read about de-interlacing or combing - where does it come from if the frame rate is only 24?
yes, i remember, i saw once that the shooting and playback standards of this video in terms of frames per second have historically almost always been inconsistent, and the problem of de-interlacing is a perennial one
so the numbers24, 25, 30, 33 are the frames per second for video
but 24, 29.97, 50, 100 are the frequencies for the different playback formats