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Field Framed

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Jim James, Chief Engineer of the IVC

Why frame rates are there?

Moving images, either film or television, are nothing more than a series of rapidly changing images or frames. Fastest most smooth motion. Long ago, it was determined that 24 frames per second was acceptable to the movement, but has left a noticeable flicker due to darken the screen every time you take a framework in place. Place two strips of light the projector to create a kind of flash of 48 images second, the illusion of a stable movement image was created. When the NTSC television standard was created a speed of 30 frames per second was chosen because it was half the speed of the line 60Hz. To avoid the flicker that was necessary to create an effective speed of 60 frames per second, but the technology of the time, he could not pass this increase a lot of information very quickly. The solution was to run the odd lines first and only then the pairs, dividing the image in the middle of two interlaced fields. The result is a full resolution image if an object is at rest, but two slightly offset versions of the object, if it is moving. When color is added it was necessary to adjust the frame rate slightly to prevent the color information interferes with the audio carrier signal television. Therefore, the frame rate for NTSC is 29.97.

In Europe, power line, the speed is 50 Hz, so that the PAL set the frame rate to 25 frames per second, and as the United States have used interlacing to achieve a flash rate of 50 frames per second. Fortunately, no problem between PAL color and audio, so PAL is still running at 50 frames per second.

An example of a football move

When formed a committee to establish a standard for high definition television has decided not to set a standard, but allow many. The interlaced frame rate of 29.97 has been retained for compatibility with existing systems, and frame including rates (30 and 60) were added as well. In addition, progressive rates, where the entire frame is sent as a whole, have been added. This gradual 29.97, 30 progressive, gradual 59.94, and 60 progressive frames were added to the mixture. Later, the obvious step of adding a standard of high definition that matches the film was taken and 24 and 23.98 progressive left. (23.98 has the same displacement of 29.97 ha to 24 of 30 and must be compatible with NTSC.) In countries where PAL 25 and 50 were added as completed. As a result of all this is at least a dozen refresh rates possible in today's video in high definition.

Conversion between frame rates

Some conversions are easy. The conversion between 24 and 25 only requires the source to accelerate or decelerate to about 4% (audio tone may require independent and conversion data of high quality). Conversion between adjacent speeds slightly (from 59.97 to 60) is even easier. The conversion rate slower to faster connection requires a doubling of tables or fields. People have been transferring video to film for a long time. For films NTSC slows to 23.98, and every other film frame is held for an additional field. (See diagram) This is called 3:2 pulldown. Some images of the original film, now to the second field of a video image. That's fine during playback, and can be easily removed for conversion to PAL or 25 frames of 24 fps for DVD compression. However, if this material is released without paying attention to maintaining a steady pace 3:2:3:2:3:2 own conversion rate becomes almost impossible.

Recently, some computer systems, and all tape formats, chose to 24-30 with just under doubled each quarter. This makes editing easy, and works well for computer formats that can not handle interlaced images, but the result is a noticeable stutter every second six times. Systems professionals are also waiting for a 3:02 pace not know how to remove the extra frames.

Become a difficult conversion is when an interlaced format is converted into a progressive, or when large reductions staff ratios are required. When an interlaced format is converted into a single progressive (ie 30i to 30p) or in any other field is discarded, resulting in an image with only half the vertical resolution, or in the field are mixed, creating a distorted image (All moving objects are jagged edges). The only way to avoid this is to interpolate, or create a completely new picture of these two areas. However well this works depends entirely on the quality of the hardware or software implementation of the interpolation. Switching rate high frame for a certain background images should be discarded, resulting in jerky motion. The only way to avoid this is to reject All original images and create a completely new sequence information of the former believe that things would have been if he had fired the rate new image. It is a very complex process that requires a lot of computing power and time. Depending on the quality of the software used the results can vary considerably.

How to survive in a multi-overall

It is not uncommon for a project that will be distributed in frame rate. American television does, if 29.97io 59.94p. Europe and many others are 50i, while the film is still shown at 24 frames per second. For a project can be easily and economically available for all these markets is important for setting the speed in mind from the beginning. For nothing is 23.98PsF a universal format. No loss of quality and low cost that can convert any format. However, many devices HD Photo format smaller than say 24p recording it. These cameras capture images at 24 frames per second, but the recordings of the band 60i. If used in a standard format conversion, such as 3:2, this is not a problem because many systems can easily delete fields additional. But if a standard conversion is used may be difficult or impossible to create a satisfactory framework amo 24. Also, if you are using a device Photo 24/60i to only 24 frames per second (actually, 23.98) before you edit it, or you may find yourself with a teacher can use.

About the Author

Jim James

Chief Engineer

Point360

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