25 Frame rate Fakat Müzeyyen Bu Derin Bir Tutku streaming 92





Bir şeyin kalbini kırması için illa yanlış yapması gerekmez ki. EDITORS NOTE: The following article originally ran in 2016 as part of our Hacking Film series and remains one of our most popular blogs. Were republishing it here with minor edits to the original text. Special thanks to author Eric Escobar. * Why 24 frames per second, why not 23 or 25? Or for that matter, why not 10 or 100? Whats so special about seeing images 24 times per second? The short answer: Not much, the film speed standard was a hack. The longer answer: the entire history of filmmaking technology is a series of hacks, workarounds and duct-taped temporary-fixes that were codified, edified and institutionalized into the concrete of daily practice. Filmmaking is one big last-minute hack, designed to get through the impossibility of a shot list in the fading light of the day. The current explosion in distribution platforms (internet, phones, VR googles) means that the bedrock standard of 24 frames per second is under attack. The race towards new standards, in both frame rate and resolution, means a whole new era in experimentation and innovation. YOU ARE NOT A CAMERA Mitchell VistaVision Model V-V 35mm motion picture camera circa 1953/54 (Picture: Doug Kline) Truth is, cameras are a terrible metaphor for understanding how people see things. The human optic nerve is not a machine. Our retina is nothing like film or a digital sensor. Human vision is a cognitive process. We “see” with our brains, not our eyes. You even see when youre asleep—remember the last dream you had? Motion in film is an optical illusion, a hack of the eye and the brain. Our ability to detect motion is the end result of complex sensory processing in the eye and certain regions in the brain. In fact, theres an incredibly rare disorder called “Akinetopsia”   in which the afflicted has the ability to see static objects, but not moving ones. Like I said, how we see things is complicated. SO WHY 24 FPS? Thomas Edisons First Projector, from Edison National Historic Site Early animators and filmmakers discovered how to create the perception of motion through trial and error, initially pegging the trick somewhere between 12 and 16 frames per second. Fall below that threshold and your brain perceives a series of discrete images displayed one after the other. Go above it, and boom motion pictures. While the illusion of motion works at 16 fps, it works better at higher frame rates. Thomas Edison, to whom we owe a lot of debt to for this whole operation (light bulbs, motion picture film, Direct Current, etc. believed that the optimal frame rate was 46 frames per second. Anything lower than that resulted in discomfort and eventual exhaustion in audience. So Edison built a camera and film projection system that operated at at a high frame rate. But with the slowness of film stocks and high cost of film, this was a non-starter. Economics dictated shooting closer to the threshold of the illusion, and most silent films were filmed around 16-18 frames per second (fps) then projected closer to 20-24 fps. This is why motion in those old silent films is so comical, the film is sped up: Charlie Chaplin. A 14% temporal difference in picture is acceptable to audiences (people just move faster) in sound its far more noticeable and annoying. With the advent of sync sound, there was a sudden need for a standard frame rate that all filmmakers adhered to from production to exhibition. THE SHUTTER Like any illusion, there is always something there that reminds us its not real. For motion picture, its the issue of a flickering shutter. For a really interesting techie deep-dove of how this works, and how the three-bladed shutter was developed, take a look at Bill Hammacks (aka “engineerguy”) break down of how a 16mm film projector works above. A few other things: Flicker reminds us that what were watching isnt real. I love the flicker. I think this flicker is a constant reminder, on some level, that what youre seeing is not real. Film projected in movie theaters hasnt changed much since the widespread acceptance of color and sound in the early 1930s. Due to technical and cost constraints, we have a standard: 24 frames per second, a three bladed shutter and some dreamy motion blur, all projected as shadow and light on the side of a wall. We watch movies the way our great-grandparents did, it connects us with a shared ritual. While there have been fads like stereoscopic 3D, extra wide-framing and eardrum-shattering sound systems, most films are still shown the same, simple way. That is, until recently. Not “cinema” anymore? What happens when all your images are digital, from shooting to presentation? What happens when high-resolution displays become handheld and ubiquitous? Digital cinema, decoupled from the pricey mechanical world of celluloid film stock, has allowed frame rates to explode into a crazy collection of use cases. High speed (meaning slow motion) used to mean shooting film at 120 frames per second and playing them back at 24. Now it means using an array of digital cameras working together to shoot a trillion frames per second and record light beams bouncing off of surfaces. Thats right—with digital motion picture cameras, you can literally film at the speed of light. Alphabet Soup In the last decade, all of the different technical innovations in digital filmmaking coalesced into one massive chemical-sounding acronym, “S3D HFR”. That means, Stereoscopic (a separate picture for each eye) 3D (creating the illusion of 3 dimensions) HFR (high frame rate, like 120 frames per second. Peter Jackson did this on the Hobbit films, the reviews were mixed. Stepping into a movie, which is what S3D HFR is trying to emulate, is not what we do at movie theaters. This new format throws so much information at your brain, while simultaneously removing the 2D depth cues (limited depth of field) and temporal artifacts (motion blur and flicker) that we are all accustomed to seeing. It confuses us because its not the ritual were used to. But there is a medium where high frame rates are desired and chased after: the modern video game. Gamers want reality, they build reality engines. From photorealistic, real-time rendering pipelines to supremely high frame rates, digital gaming systems are pushing the envelope for performance. Game engineers build systems utilizing massive parallel processing graphics engines (GPUs)—computers within the computer that exist purely to push pixels onto the screen. Modern video games are a non-stop visual assault of objects moving at high speed, and a gaming POV that can be pointed anywhere at will by the player. All this kinetic, frenetic action requires high frame rates (60, 90, 100 fps) to keep up. As a side effect, GPU based computing also works as the processing engines for Artificial Intelligence and Machine Learning systems. A technology pioneered to let you mow down digital zombies at 120 frames per second is also why Siri answers your questions a little better. IMMERSION: WHERE WERE GOING NEXT Helium VR Rig, cable of shooting 8K resolution at 60fps with a 360 degree field of view. (image from Jason Diamond/Supersphere) As new digital display technologies replace film projection, higher frame rates suddenly become practical and economical. And as monitors move off of walls and on to your face (because smartphones) all the cues that tell our brains that motion is an illusion will begin to break down. Moving pictures no longer appear as shadows and light on a flat wall. The telltale flicker that reminds our unconscious mind that the picture is not real will disappear, as the very frame separating “constructed image” from “the real world” disappears into a virtual world of 360-degree immersion. Frame rate becomes a showstopper when wearing a Vive or Oculus Rift: at 30 fps youre queasy, at 24fps youre vomiting. The minimum frame rate for Virtual Reality systems is 60ps, with many developers aiming for 90 to 120. The inverse of VR is Augmented Reality, when the pictures appear to run loose in the real world. Systems like Magic Leap (which has yet to come to market) and Microsoft Hololens are bringing the images off the frame and into the real world. These systems use sophisticated, real-time positional data of the users head, eyes and body, as well as the IDing of real world objects to blend virtual characters into our everyday lives. The goal of these augmented reality systems is to create an experience that is indistinguishable from the real world. That some day, very soon, the illusions we used to watch on screens, flickering in the darkness, will run into our living room and tell us that we have an email. Certainly this new medium will entertain us, tell us stories, but in entirely new ways. Blending the ephemeral digital elements into our everyday surroundings is a technology of interaction, not passive viewing. How will we watch movies? Will we watch them? More Film Independent… Twitter YouTube Instagram Membership.

Posted 11:00 am May 23, 2019 by & filed under Content Marketing, Marketing, News, Video, Video Marketing. In my opinion, frame rates are one of the most important technical aspects of videography. Your choice of frame rate can be the difference between professional, cinematic footage and footage that looks like its been shot on a phone. What are video frame rates? In order for video footage to be captured, your camera needs to take a series of still images in quick succession. Each of these still images is called a “ frame ”. Frame rates refer to the number of still images that a camera captures in the space of a second, also known as “ frames per second ” or “ fps ”. Standard Video Content 24fps The vast majority of Hollywood films are displayed in 24fps, therefore filming in this frame rate can make your footage seem a lot more cinematic. Whilst the average person may not be able to consciously differentiate between 24fps footage and other frame rates, most professional videographers can tell the difference. In addition, most of the Western world has been conditioned to associate 24fps video content with high-budget movies, therefore its likely that a lot of people will subconsciously notice the difference. One of the main disadvantages of filming in 24fps is that it can look quite choppy and unprofessional when slowed down. With this in mind, if youre shooting footage with the intention of slowing it down in post-production, wed always recommend filming in a higher frame rate. Using a plugin such as Twixtor Pro to slow down your footage can also help to avoid any choppy slow motion footage. 25fps 25fps is the frame rate used for TV video content in the UK and any other countries that use a 50Hz power standard, such as Germany, Australia and the United Arab Emirates. A lot of modern DLSR cameras offer the option to film in 25fps, which can often be confusing for videographers that have always been taught to film in 24fps. If youre ever stuck between the two, wed recommend filming in 24fps unless you know that your video content will be played on UK television. 30fps As the power standard in the United States, Brazil, Mexico and many other countries is 60Hz, many modern cameras also offer the option to film video content in 30fps. Traditionally, this is the frame rate used for TV video content in the US. As your camera is capturing more still images per second than it is with 24fps footage, this frame rate can be ideal for sport and other types of fast-moving video. Photo Credit: Its also important to bear in mind that the vast majority of home video cameras from the 2000s and early 2010s only had the option to film in 30fps. With this in mind, people often associate video thats filmed in 30fps with lower-quality, home-made video content. Similarly to 24 and 25fps, wed recommend avoiding filming slow motion footage in 30fps as it can come out looking choppy and unprofessional. Slow Motion Video 50fps For most semi-professional DSLR cameras manufactured in the UK, or other countries with the 50Hz power standard, 50fps is the highest available frame rate. This is the ideal frame rate for shooting slow motion footage; with more than double the number of still images being taken than 24fps, the footage will look far smoother when slowed down. If your camera has the option to film in higher frame rates, then 50fps can still be useful for slow motion footage for things such as tracking shots of people walking, shaking hands and other slow-to-mid speed actions. Just to note, any footage that is captured in 50fps or above but hasnt been slowed down can also come across as unprofessional. Similarly to 30fps footage, this is because people simply arent used to watching normal speed video content in any other frame rate than 24fps. 60fps 60fps is the US equivalent of 50fps, just like 30fps is to 25fps. If your camera was manufactured in the US or one of the other countries that uses the 60Hz power standard then its likely that it will offer the ability to film in 60fps rather than 50. Of course, some of the more expensive cameras may offer the option to film in both. 100/120fps The next significant frame rate is 100fps (UK) or 120fps (US) however its very rare that youll find a camera that films either of these frame rates in 1080p for under 1, 000. For most amateur videographers, 50/60fps will get you the results that youre looking for anyway. Saying that, if you can afford a camera that films in 100/120fps then its certainly worth the investment. This frame rate is perfect for smooth, cinematic slow-mo sequences of events that happen quickly in real time – for example, a tracking shot of someone running or a moving car. 200/240fps The next level up from 100/120fps is 200fps (UK) or 240fps (US. This frame rate is available on even fewer consumer cameras – the Sony GH5S is one of the few mirrorless and DSLR cameras that can record 240fps video at 1080p. Saying that, for people wanting to access 240fps without having to shell out on a camera worth several thousands of pounds, the new GoPro HERO7 actually offers 240fps slow motion in 1080p. In practice, its rare that youll even need to film in this frame rate as it is very slow, however, it can be perfect for slowing down fast-paced action sequences. If youve ever seen videos of a water balloon exploding in slow motion, or someone being hit in the face in slow motion, its likely that the footage was shot in 200/240fps or above. So there you have it, the ultimate guide to video frame rates. Its also important to note that, whilst some cameras offer the option to film in higher frame rates, it comes at the cost of video quality. By this, I mean that some cameras may be able to film in 120fps, but only at 720p. Whilst frame rates are one of the most important technical aspects of videography, theyre not as important as video quality. With this in mind, we always avoid filming in anything below 1080p unless absolutely necessary. Do you have any other tips or recommendations on video frame rates? Why not drop a comment below or let us know on Twitter or Instagram? Want to discover more digital marketing tips and tricks? Why not  sign up to our mailing list for all the latest insights from Flaunt Digital.

25 frame rate fakat m c3 bczeyyen bu derin bir tutku new. Aşk ask assk ask ask bu iste allahina kurban 💓💓💓💓💓. Allahıma şu poyraz gibi sevenim olsun başka bir şey istemem. Buna yaşamak denirse. pakize suda :ayrılık. 25 frame rate fakat m c3 bczeyyen bu derin bir tutku lyrics. Rüyalar göreceksiniz, gerçek olmasını istediğiniz. Her sıçrayarak uyandığınızda onun adını söylediğinizi fark edeceksiniz... 25 Frame rate Fakat Müzeyyen Bu Derin Bir. For years, 24 fps has been the universal standard of digital cinema. While a handful of vendors have supported alternative frame rates, full support still eluded some of the top D-Cinema server manufacturers. Lately, things are looking better for alternative frame rate content as more vendors update their systems to support a broader range of frame rates and the new SMPTE standard for DCPs. Of course, there are still a few stragglers and institutions like the Academy of Motion Picture Arts and Sciences that mandate 24 fps for qualifying DCPs. So what do you do when you need some serious frame rate conversion? For the purposes of this post, we will be talking in terms of drop frame frame rates because thats how must of us edit and post. It is important that when converting footage, frame rates should remain  Frame-Rate Conversion The goal of converting video between frame rates is to maintain the same total run time while conforming to a different technical standard. To do so, we need to remove or add frames to match the new frame rate. Doing a straight export out of your editing bay between frame rates will result in dropped frames or dupe frames that will cause your image to stutter. We avoid this by using one or a combination of frame blend conversion processes. Why cant I just change the frame rate setting on export? Most editing systems use unintelligent frame rate conversion mechanisms when doing a frame rate conversion on export, either dropping or replicating frames to make up the difference in your image. This can result in stuttering images that can ruin a picture. When looking for a conversion method, pay close attention for tools that can perform motion compensated or motion predictive frame blending. Hardware Conversion Tools BlackMagic Designs Teranex – Easily one of the most recognizable conversion tools on the market, the Teranex interfaces directly with NLEs to provide a highly effective toolset for conversion, de-interlacing, and pulldown removal. It cant handle everything though, so use it in combination with software tools to achieve the best results. Quantels Alchemist – This machine has stood as the authority in frame rate conversion since its introduction in the early 90s. This one is meant for straight conversion of signal for broadcast environments and is not as useful in a post production environment. A very quick and easy solution, but be sure to check your end product carefully. Cinnafilm Tachyon  – GPU-accelerated frame rate conversion allows the Tachyon to converting frame rates far faster than realty time. Geared toward post production teams in broadcast environments. Software Tools Software tools can get you most of the way towards converting the frame rate of your film, but require care and precision. While we cannot provide detailed tutorials, there are a lot of great resources on the web to teach you how to effectively convert your film for little to no cost. RevisionFX Twixtor – A staple in post-production for ultra-slow motion effects, Twixtor is a very effective frame rate conversion tool. Using motion compensation algorithms, Twixtor predicts and interpolates your image to make sure every frame flows smoothly into the next. Twixtor works across multiple platforms and software toolsets from Adobe Creative Suite to FCPX. Apples Compressor – Unbeknownst to most Final Cut users, Compressor has included a very powerful frame rate conversion toolset right under the
hood for years now. Using the frame controls tab in
 Compressor 3 (now built into the conventional workflow in Compressor 4) you can take advantage of either a simple motion blur translation (Good Quality) Motion Compensated Frame Blend (Better Quality) or Optical Flow (Best Quality) which works in similar fashion to Twixtor. If you have shots containing pulldown, you can also use the Reverse Telecine function to automatically detect and remove it. Your results may vary so be sure to inspect your project thoroughly. Final Cut Pro X – Documentation for FCPXs built in frame blending tools is geared primarily at those looking to apply retiming effects like slo-mo and time lapses to their projects. It also serves as a great tool for converting frame rates easily and effectively right inside of your editing timeline. Use the same options available to you inside of Compressor to achieve hardware quality conversions prior to output and skip the extra post production steps down the line. Interlaced Video Broadcast video is often shot with interlaced fields (two combed images that together form a single frame. When converting, its important to perform the progressive conversion at the same time as your frame rate conversion to achieve the best results a your conversion will work directly from your interlaced videos fields rather than just the frames themselves. This allows for a much more fluid interpolation of frames and yield significantly better results. Reverse Telecine The one caveat to progressive conversion is when your interlaced image has been achieved via telecine. Telecine is the process of conforming film content for broadcast. Unlike frame rate conversion, pulldown is a non-destructive process that adds new frames to video by recombining existing frames by way of fields. For more info on pulldown, check out Apples documentation for Cinema Tools. A visualization of 3:2 Telecine Because pulldown is non-destructive, you can actually reconform your project back to 23. 976 without losing any image quality. The key is to perform a Reverse Telecine on your footage. Most hardware and software frame rate conversion tools have this ability, but our favorite is Apples Compressor, which can automatically determine your specific pulldown cadence and remove it. This becomes significantly trickier, however, when youve already cut together a project using footage that has gone through a a telecine and may require your film to be re-onlined. Frame Rate Conforming Conforming is the process of speeding up or slowing down footage to match a frame rate. This is most commonly performed when going between drop and non-drop frame rates. 23. 976 fps –> 24 fps. 1% change) While subtle, these effects can have an impact over time. If audio is not resampled, for instance, to reflect the new timebase, it will begin to drift. In the case of 23. 976 fps to 24 fps conversion, audio will drift at a rate of approximately 1 second for every twenty minutes of video. Conforming 25 fps to 24 fps Converting 25 fps material to 24 fps is exceedingly problematic. In order to smooth out the single dropped frame across your project, frame rate conversion engines have to interpolate the difference across each and every second you have, resulting in streaked, inaccurate frame blends. For this reason, instead of converting your film, we instead recommend conforming. The only problem with this… 25 fps –> 24 fps ( 4% change) There is a noticeable pitch shift in audio when when changing the timebase so drastically. Most people viewing your film for the first time will be none the wiser, but where it becomes extremely noticeable is during sound cues. In this instance a filmmaker can either opt to retime sound cues to the new conformed frame rate or opt to apply a pitch shift filter to their soundtrack. You can find an easily accessible filter in Adobe Audition. Professional Conversion Many projects require additional attention to detail if your project contains any of the following: Inconsistent source material Mixed frame rates Baked in interlacing artifacts Fast pans Lower thirds or other graphic overlays You may be best served by seeking out the assistance of a facility specializing in onlining and conforming.

4:40 :D. 25 frame rate fakat m c3 bczeyyen bu derin bir tutku status. "Update rate" redirects here. It is not to be confused with RAM update rate. "Burst rate" redirects here. It is not to be confused with Burstable rate. Frame rate (expressed in frames per second or FPS) is the frequency (rate) at which consecutive images called frames appear on a display. The term applies equally to film and video cameras, computer graphics, and motion capture systems. Frame rate may also be called the frame frequency, and be expressed in hertz. Human vision [ edit] The temporal sensitivity and resolution of human vision varies depending on the type and characteristics of visual stimulus, and it differs between individuals. The human visual system can process 10 to 12 images per second and perceive them individually, while higher rates are perceived as motion. [1] Modulated light (such as a computer display) is perceived as stable by the majority of participants in studies when the rate is higher than 50 Hz. This perception of modulated light as steady is known as the flicker fusion threshold. However, when the modulated light is non-uniform and contains an image, the flicker fusion threshold can be much higher, in the hundreds of hertz. [2] With regard to image recognition, people have been found to recognize a specific image in an unbroken series of different images, each of which lasts as little as 13 milliseconds. [3] Persistence of vision sometimes accounts for very short single-millisecond visual stimulus having a perceived duration of between 100 ms and 400 ms. Multiple stimuli that are very short are sometimes perceived as a single stimulus, such as a 10 ms green flash of light immediately followed by a 10 ms red flash of light perceived as a single yellow flash of light. [4] Film and video [ edit] Silent films [ edit] Early silent films had stated frame rates anywhere from 16 to 24 frames per second (fps. 5] but since the cameras were hand-cranked, the rate often changed during the scene to fit the mood. Projectionists could also change the frame rate in the theater by adjusting a rheostat controlling the voltage powering the film-carrying mechanism in the projector. [6] Film companies often intended that theaters show their silent films at higher frame rates than they were filmed at. [7] These frame rates were enough for the sense of motion, but it was perceived as jerky motion. To minimize the perceived flicker, projectors employed dual- and triple-blade shutters, so each frame was displayed two or three times, increasing the flicker rate to 48 or 72 Hertz and reducing eye strain. Thomas Edison said that 46 frames per second was the minimum needed for the eye to perceive motion: Anything less will strain the eye. 8] 9] In the mid to late 1920s, the frame rate for silent films increased to between 20 and 26 FPS. [8] Sound films [ edit] When sound film was introduced in 1926, variations in film speed were no longer tolerated, as the human ear is more sensitive to changes in audio frequency. Many theaters had shown silent films at 22 to 26 FPS—which is why the industry chose 24 FPS for sound films as a compromise. [10] From 1927 to 1930, as various studios updated equipment, the rate of 24 FPS became standard for 35 mm sound film. [1] At 24 FPS, the film travels through the projector at a rate of 456 millimetres (18. 0 in) per second. This allowed for simple two-blade shutters to give a projected series of images at 48 per second, satisfying Edison's recommendation. Many modern 35 mm film projectors use three-blade shutters to give 72 images per second—each frame is flashed on screen three times. [8] Animation [ edit] In drawn animation, moving characters are often shot "on twos" that is to say, one drawing is shown for every two frames of film (which usually runs at 24 frames per second) meaning there are only 12 drawings per second. [11] Even though the image update rate is low, the fluidity is satisfactory for most subjects. However, when a character is required to perform a quick movement, it is usually necessary to revert to animating "on ones" as "twos" are too slow to convey the motion adequately. A blend of the two techniques keeps the eye fooled without unnecessary production cost. [12] Animation for most " Saturday morning cartoons " was produced as cheaply as possible, and was most often shot on "threes" or even "fours" i. e. three or four frames per drawing. This translates to only 8 or 6 drawings per second, respectively. Anime is also usually drawn on threes. [13] 14] Modern video standards [ edit] Due to the mains frequency of electric grids, analog television broadcast was developed with frame rates of 50 Hz (most of the world) or 60 Hz (Canada, US, Japan, South Korea. Hydroelectric generators, due to their massive size, developed enough centrifugal force to make the power mains frequency extremely stable, so circuits were developed for television cameras to lock onto that frequency as their primary reference. The introduction of Color Television technology made it necessary to lower that 60 FPS frequency by. 1% to avoid " dot crawl. an annoying 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. 1% that undesirable effect was highly minimized. Today, video transmission standards in North America, Japan, and South Korea are still based on 601. 001 or ≈59. 94 images per second. Two sizes of images are typically used: 1920x540 (1080i) and 1280x720 (720p. Confusingly, interlaced formats are customarily stated at 1/2 their image rate, 29. 97 FPS, and double their image height, but these statements are purely custom; in each format, 60 images per second are produced. 1080i produces 59. 94 1920x540 images, each squashed to half-height in the photographic process, and stretched back to fill the screen on playback in a television set. The 720p format produces 59. 94 1280x720 images, not squeezed, so that no expansion or squeezing of the image is necessary. This confusion was industry-wide in the early days of digital video software, with much software being written incorrectly, the coders believing that only 29. 97 images were expected each second, which was incorrect. While it was true that each picture element was polled and sent only 29. 97 times per second, the pixel location immediately below that one was polled 1/60th of a second later, part of a completely separate image for the next 1/60 second frame. Film, at its native 24 FPS rate could not be displayed without the necessary pulldown process, often leading to "judder" To convert 24 frames per second into 60 frames per second, every odd frame is repeated, playing twice, while every even frame is tripled. This creates uneven motion, appearing stroboscopic. Other conversions have similar uneven frame doubling. Newer video standards support 120, 240, or 300 frames per second, so frames can be evenly multiplied for common frame rates such as 24 FPS film and 30 FPS video, as well as 25 and 50 FPS video in the case of 300 FPS displays. These standards also support video that's natively in higher frame rates, and video with interpolated frames between its native frames. [15] Some modern films are experimenting with frame rates higher than 24 FPS, such as 48 and 60 FPS. [16] Frame rate in electronic camera specifications may refer to the maximal possible frames per second, where, in practice, other settings (such as exposure time) may reduce the frequency to a lower number. See also [ edit] Delta timing Federal Standard 1037C Film-out Flicker fusion threshold Glossary of video terms High frame rate List of film formats MIL-STD-188 Movie projector Moving image formats Time-lapse photography Video compression References [ edit] a b Read, Paul; Meyer, Mark-Paul; Gamma Group (2000. Restoration of motion picture film. Conservation and Museology. Butterworth-Heinemann. pp. 24–26. ISBN   978-0-7506-2793-1. ^ James Davis (1986. Humans perceive flicker artefacts at 500 Hz" Sci Rep, 5: 7861, doi: 10. 1038/srep07861, PMC   4314649, PMID   25644611 ^ Potter, Mary C. (December 28, 2013. Detecting meaning in RSVP at 13 ms per picture" PDF. Attention, Perception. Psychophysics. 76 (2) 270–279. doi: 10. 3758/s13414-013-0605-z. hdl: 1721. 1/107157. PMID   24374558. ^ Robert Efron (1973. Conservation of temporal information by perceptual systems. Perception & Psychophysics. 14 (3) 518–530. 3758/bf03211193. ^ Brown, Julie (2014. Audio-visual Palimpsests: Resynchronizing Silent Films with 'Special' Music. In David Neumeyer (ed. The Oxford Handbook of Film Music Studies. Oxford University Press. p. 588. ISBN   978-0195328493. ^ Kerr, Walter (1975. Silent Clowns. Knopf. p. 36. ISBN   978-0394469072. ^ Card, James (1994. Seductive cinema: the art of silent film. p.  53. ISBN   978-0394572185. ^ a b c Brownlow, Kevin (Summer 1980. Silent Films: What Was the Right Speed. Sight & Sound. 49 (3) 164–167. Archived from the original on 8 July 2011. Retrieved 2 May 2012. ^ Thomas Elsaesser, Thomas Elsaesser; Barker, Adam (1990. Early cinema: space, frame, narrative. BFI Publishing. p. 284. ISBN   978-0-85170-244-5. ^ TWiT Netcast Network (2017-03-30) How 24 FPS Became Standard, retrieved 2017-03-31 ^ Chew, Johnny. "What Are Ones, Twos, and Threes in Animation. Lifewire. Retrieved August 8, 2018. ^ Whitaker, Harold; Sito, John Halas; updated by Tim (2009. Timing for animation (2nd ed. Amsterdam: Elsevier/Focal Press. p. 52. ISBN   978-0240521602. Retrieved August 8, 2018. ^ Shot on threes (ones, twos, etc. Anime News Network... ^ CLIP STUDIO (12 February 2016. CLIP STUDIO PAINT アニメーション機能の使い方" – via YouTube. ^ High Frame-Rate Television, BBC White Paper WHP 169, September 2008, M Armstrong, D Flynn, M Hammond, PAWAN Jahajpuria S Jolly, R Salmon ^ Jon Fingas (November 27, 2014. James Cameron's 'Avatar' sequels will stick to 48 frames per second" Engadget, retrieved April 15, 2017 External links [ edit] Temporal Rate Conversion" —a very detailed guide about the visual interference of TV, video & PC ( Wayback Machine copy) Motion Tests — visually comparing multiple framerates.

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Seks Hakkında Herşey / mp4 indir / tr Dublaj SEKS HAKKINDA HERŞEY Gün geçtikçe insanı sarmalayan ve yaşamın her alanda karşısına çıkan cinsellik. Beynin kıvrımlarında gizli bu doğal yeteneğimizi ne kadar tanıyoruz, ne kadar değerlendirebiliyoruz. Cinsellik hakkında, seks hakkında hiçkimseye sorulamayanlar. Nitelikli ve seçkin bir cinsel yaşamın temel öğeleri nelerdir. Bedenimizi ve eşimizin bedenini ne kadar tanıyoruz. Tensel hazzın sınırlarına ulaşabilmenin yolları. Bilinçaltının cinselliğe etkisi. Kadınlar, erkekte neler arar. Erkekler, kadında neler arar. Sormak isteyip de soramadıklarınıza cesur cevaplar. Dr. Frederic Le Blond'un yorumlarıyla çok özel hazırlanmış bir yapım Seks ciddi bir konudur çünkü seks mutluluktur! ekran görüntüsü Buradan indir Ada / The Island / Türkçe Dublaj indir Tür Aksiyon / Gerilim / Bilim Kurgu Gösterim Tarihi 2 Eylül 2005 Yönetmen Michael Bay Senaryo Alex Kurtzman, Roberto Orci, Caspian Tredwell-Owen Görüntü Yönetmeni Mauro Fiore Müzik Steve Jablonsky Yapım 2005, ABD, 136 dk. Oyuncular Ewan McGregor (Lincoln Six-Echo) Scarlett Johansson (Jordan Two-Delta) Djimon Hounsou (Laurent) Steve Buscemi (McCord) Sean Bean (Merrick) Michael Clarke Duncan (Starkweather) Armageddon ve Pearl Harbour filmlerinin yönetmeni Michael Bay bu sefer de karşımıza bir distopya filmiyle çıkıyor. 21. yüzyılda ütopik bir toplum. Filmin kahramanı Lincoln ve toplumun diğer üyelerinin tek amacı büyük çekilişi kazanıp, ada"ya gitmektir. Bu umutla hayatına devam eden genç adam günün birinde olan biten her şeyin bir düzmece olduğunu öğrenir. Lincoln ve diğerleri, aslında dış hayattan soyutlanmış olarak yaşayan klonlardır. Ve yaşatılma amaçları, klonları oldukları insanların yedek parçaları olarak varolmaktır. Günün birinde sağlığı bozulacak olan gerçek sahiplerine organ sağlamaktan başka varoluş amaçları yoktur. Hasat zamanının yaklaştığını ve eninde sonunda sıranın kendisine de geleceğini bilen Lincoln, yaşadığı yerden kaçmaya ve yaratıcılarıyla yüzleşmeye karar verir. Son Umut / Children Of Men 2006 (Türkçe Dublaj) Mp4 Orjinal Adı: Children of Men Yönetmen: Alfonso Cuaron Oyuncular: Clive Owen, Julianne Moore, Michael Caine, Chiwetel Ejiofor, Charlie Hunnam Senaryo: Timothy J. Sexton, David Arata, Mark Fergus, Hawk Ostby Görüntü Yönetmeni: Emmanuel Lubezki Müzik: John Tavener Kurgu: Alex Rodriguez Tür: Macera - Drama - Gerilim Süre: 109 Dk. Yapım: 2006 - ABD/İngiltere Dağıtımcı: Warner Bros. Gösterim tarihi: 1 Aralık 2006 Konu: Dünya, 2027: Gelecek için umut gittikçe önemini kaybeden bir kaynak oluyor. Son doğan bebeğin üzerinden neredeyse 19 yıl geçmiştir. Çoğu insan kaçınılmazı benimsemeyi seçip, ayrılıkçılığın, kanunsuzluğun içine çekilirken, diğerleri birleşik bir gezegen ve yavaş yavaş azalan nüfus için mücadeleye devam eder. üyük Britanya militarist emperyalist siyaseti sayesinde ayakta kalmayı başaran idari bölgelerden biridir. Eski eylemciden bürokrata dönüşen Theo(Clive Owen) acılı geçmişi ve anlamsız gelecek gerçeğine karşı metanetini önem vermeyi bırakarak korumaktadır. Yaşamını yalnızca Londra'dan uzakta kırsal bölgede yaşayan eski arkadaşı Jasper'a (Michael Caine) yaptığı ziyaretler hareketlendirmektedir. Bütün bunlar, Theo kendini bir kamyonun arkasına atılmış bulup Julian'ın (JULIANNE MOORE) önüne getirildiğinde değişir. Julian Theo'dan örgütündeki genç bir kadın olan Kee'nin (CLARE-HOPE ASHITEY) tehlikesizce ülke dışına. ürülmesi için gerekli olan kâğıtları elde etmesi için yardım ister. Kee sekiz aylık hamiledir ve artık bütün gezegenin beklediği ve umut ettiği mucize olarak durmaktadır. Hem bir neden için her şeylerini riske atacak anarşistlerden, hem de Kee'nin çocuğunu politik kazançları için kullanacak diğerlerinden kaçarak korunağa kadar süren yarışta, Kee ve Theo gelecek neslin benzersiz şampiyonları olurlar. Copying Beethoven / Beethoven'ı Anlamak - 2006 - Orj. Dvd'den MP4 indir Genç Anna Holtzun (Diane Kruger) tüm hayali iyi bir besteci olmaktır. Bu hayalini gerçekleştirmek ve müzik alanında iyi bir kariyer yapmak amacıyla, o dönemde dünyanın müzik başkenti olan Viyanaya gelir. Konservatuarda okurken, yaşayan en büyük ve yetenekli besteci Ludwig van Beethovenın (Ed Harris) yanında çalışma fırsatı yakalar. Beethoven, 9. senfonisinin son hazırlıkları üzerinde çalışmaktadır. Yapımcısı Wenzel Schlemmer (Ralph Riach) ise bu sırada kanserden ölmektedir. Schlemmer, senfoniyi tamamlamakta yardım etmesi için Annaya bir teklif yapar. Anna, bu teklifi kabul ederken Beethovenın birlikte çalışması çok güç bir insan olduğundan habersizdir. Password: Kayıp Kucak / El Abrazo Partido / 2004 Mp4 (DvdRip - Tr Dublaj download Film'in Konusu: 54. Berlin Film Festivali'nde En İyi Yönetmen Gümüş Ayı ödülünün yanı sıra, En İyi Erkek Oyuncu ödülünü de kazanan, zengin işlenmiş karakterleri ve hümanist tavrıyla, izleyici ile güçlü bağlar kurmayı başaran, son yılların en sıcak filmlerinden biri. Arjantin'in renkli şehirlerinden Buenos Aires'te bir alışveriş merkezini kendilerine mesken edinmiş, birbirinden renkli karakterlerden oluşan bir göçmen topluluğu üzerine odaklanan film, kimlik arayışı üzerine yoğunlaşan, karakterlerini Yahudilerin ve göçmenlerin oluşturduğu keyifli bir hiciv. 25 yıl önce, İsrail'de savaşmak için evi terk eden babasıyla kucaklaşmaya hasret bir gencin, köklerini ve kendi kimliğini sorgulaması çerçevesinde gelişen film, yönetmenin kendi deyişiyle, küçük anektodlar, trajediler ve komik olaylar kadar, gerçeklere ve yalanlara dayanan bir kimliğin oluşmasına ışık tutuyor. Katıldığı festivallerde aldığı övgüler ile yönetmenini uluslararası arenada ön plana çıkaran Kayıp Kucak, son yıllarda bütün dünyayı kasıp kavuran Latin Amerikan sinemasının, alçakgönüllü ve bir o kadar da içten örneklerinden biri. Film ile ilgili teknik bilgiler: Formatı: DVDRip Süresi: 01:36:07 Çözünürlülük: 448x248 Video Sıkıştırma: H. 264 Görüntü Kareleme: 25 Fps Ses Bit Değeri: 65 kbps Ses Formatı: AAC LC-SBR Brokeback Dağı / Brokeback Mountain / 395 Mb - Türkçe Dublaj - Süper Görüntü indir Genelde kadınlarla vakit geçirmeyi seven iki sert erkek, Brokeback Dağı civarında bir çiftlikte tanışır ve birlikte vakit geçirmeye başlar. Zamanla aralarındaki ilişki, dikkat çekici bir derinlik ve duygusal bir boyut kazanır. Biri çiftçi, diğeri ise rodeo kovboyu, farklı karakterlerine rağmen birbirlerine bağlanırlar. Yaşam boyu sürecek olan bu ilişki, kimi zaman kopmalar ve ayrılıklar yaşayacak fakat yeniden iki aşığı buluşturacaktır. Ortaya, kulaktan kulağa yayılacak, aşka dair güçlü tonlar barındıran efsanevi bir hikaye çıkacaktır. Pulitzer ödüllü E. Annie Proulx imzalı, kült bir kısa hikayeden uyarlandı. Ang Lee, Jane Austen'den Hulk'a uzanan farklı uyarlama denemelerine şimdi de uzun yıllar unutulmayacak, eşcinsel bir aşk hikayesi ekledi. Lee'nin popüler kültür ile sanat arasındaki yolculuklarının en ilginç ürünlerinden birisi, aynı zamanda eşcinsel temalı sinemanın da dönüm noktalarından birisi olacak gibi gözüküyor. Shrek 3 / Türkçe Dublaj Mp4 indir Filmin Konusu: Kral Harold hastalanınca taht için uygun bir varis bulmak Shreke düşer. Aksi takdirde tahta geçeceği için çok sevdiği bataklıktan ayrılmak zorunda kalacaktır. Bu konuyla ilgili olarak Eşek ile Çizmeli Kediyi görevlendiren Shrek, taht için en doğru varis olarak gördüğü kişiyi gözüne kestirir. Bu kişi, Fionanın asi ruhlu kuzeni Prens Artieden (Justin Timberlake) başkası değildir. Öte yandan çok çok uzaklarda Fionayı bir zamanlar yüzüstü bırakıp terk eden eski nişanlısı Prens Charming, tahtı ele geçirmek için peri masallarından topladığı kötü adamlar ordusuyla kentte fırtınalar estirmektedir. Ancak kenti savunmaya kararlı olan Fiona ile annesi Kraliçe Lillianın peri masallarındaki iyi insanları yanlarına topladığından haberi yoktur. Shrek, Eşek ve Çizmeli Kedinin, “geleceğin kralı” olarak gördükleri Artieyi daha mükemmel olması için değiştirme çabası devam ederken, diğer tarafta Fiona ve prensesler ordusu ise Prince Charmingi durdurmak zorundadır. Bunu başaramazlarsa ortada Artienin hüküm süreceği bir krallık kalmayacaktır. Buradan indir.

Sabahı iple çekeceksiniz. Bazen de ‘‘Hiç güneş doğmasa diyeceksiniz. Poyraz karayeli bu ikisi sayesinde sevmeye başladım çok yakışıyolar. Çok iyi bir diziydi, özledim. 25 frame rate fakat müzeyyen bu derin bir tutku full izle. Frame Rates: The Basics The term ‘frame rate refers to the number of individual frames or images that are displayed per second in a film, TV or computer game display. The frame rates used for film and TV are standardised by the Society of Motion Picture and Television Editors (SMPTE. Since 1927, the standard frame rate for film has been 24 fps (frames per second. For TV the standard is 30 fps for NTSC (National Television System Committee – the system used in North America, Japan and many other areas around the world) 25 fps for PAL (Phase Alternating Line – the system used in Europe, parts of Africa and SE Asia. 24 fps is not the minimum required for persistence of vision – our brains can make a continuous moving picture with as little as 16 fps – but it was a rate that gave a quality effect at a reasonable cost (higher frame rates would require more frames meaning filmmakers would use more film. This means that for films to be transferred to video and shown on TV, the frame rates need to be adjusted. When something is being filmed specifically to show on PAL, frame rates are adjusted during the shoot with cameras running at 25 fps instead of 24. Alternatively, it is done at the time of transfer, with the film just run at the extra frame speed. For NTSC, where the difference is greater, this is done by a process called 3:2 pull down. The future of frame rates Recently, there has been a move towards using higher frame rates for movies and it became a hot topic in 2012 with the release of The Hobbit. Director Peter Jackson shot the film at 48 fps, twice the normal speed, as he argued that it made a clearer film (especially for 3D. If the camera is capturing twice the number frames more detail is captured, removing motion blur and strobing of fast moving action, but it was met with criticism. Research into the field of consciousness perception has suggested that the human brain perceives the real world at a rate of around 40 conscious moments (frames) per second. The problem with The Hobbit was that it was providing too much ‘reality for a film. Cinema-goers have been conditioned to the look and feel of a 24 fps film. The Hobbit went so far beyond this that it caused what is known as ‘ The Uncanny Valley effect in viewers. This psychological concept says that if people are seeing something artificial, which starts to approach something looking real, they begin to inherently reject it. Its the problem computer graphic animators constantly struggle with (think of films like The Polar Express) where as they try and make characters seem more realistically human, the effect can actually end up being quite creepy. The Hobbit strayed into the Uncanny Valley because the extra information the film was displaying stopped it looking like a film and that made all the usual film conventions – the way scenes are lit, the way people look, etc. – seem oddly out of place and, some argued, more fake. However, high frame rates are still being talked about by directors, especially 3D enthusiasts such as James Cameron, who is shooting Avatar 2 at 60 fps. For Cameron, the higher frame rates are all about maximising the effect of 3D. “ 3D shows you a window into reality; the higher frame rate takes the glass out of the window, ” said James Cameron in an interview with Hollywood Reporter. The implications of high frame rates One of the most basic implications higher frame rates will have for producers is handling the ever increasing amounts of data it will produce. Weve talked before about the effect of 4K. Quadrupling the number of pixels in a frame will already have an enormous effect. If you then double the number the number of frames, those will be huge video files, hard to store and even harder to move around. < back to blog home.

Home Advice (Image credit: Future) Play a film or TV show and the picture you see is actually made up of a multitude of still pictures played very quickly, one after another, to fool your brain into thinking youre seeing motion. Traditionally, films have 24 of these images – called frames – every second. This number was originally chosen not only because it was considered high enough to give the resultant image a smooth impression of motion, but also to allow a decent quality of sound (sound was embedded into the film at this point. Television programmes work to different standards. In the PAL system (used in Europe and parts of Asia) the rate is 25 frames per second while NTSC (the North American alternative) sets the frame rate at 30. These arent arbitrary numbers. They are tied into the mains power frequencies in each of those regions - thats 50Hz for PAL territories and 60Hz for NTSC. While the term ‘High Frame Rate is routinely bandied around there is, in fact, no fixed standard. In effect the term refers to any frame rate higher than is conventionally used - so anything better than the current 24-30 fps. What can I watch in HFR? Arguably the most high-profile HFR films to date have been Peter Jacksons The Hobbit trilogy - they were recorded at 48fps. Having more frames per second inherently improves the smoothness of motion, and gives a higher degree of resolution and clarity. Watch any of The Hobbit films and each of these advantages are clear - but not everyone liked what they saw. Why? The extra smoothness and resolution makes the films look more lifelike, but also very different from the norm. Were so used to seeing the grain and relatively low resolution of traditional film, anything so obviously better can just look odd. The extra clarity puts more of a spotlight on set quality, special effects and make-up - so any shortcomings in these areas are now spotted more easily. Ang Lee went even further than Jackson with Billy Lynns Long Halftime Walk. This was recorded at a heady 120fps, and met with equally mixed reactions. The very high level of resolution and smoother motion are obvious, but many viewers remained unsettled. Elsewhere, many of the big name game franchises such as FIFA, Call of Duty and Forza have incorporated 60fps in some editions. YouTube has a number of clips too, but little to hold our interest for long. Its fair to say theres a scarcity of HFR material, but that can change quickly. James Cameron's upcoming Avatar sequels are said to feature the technology, and that could well kick start something of a revolution, much as the original did for 3D. Will I need a new TV? Image credit: Future/Amazon) HFR is already sneaking into the spec lists of a number of TVs. LG has been  particularly keen on the tech, having included it on its 2018 and 2019 OLED models. That said, there's very little that you can watch at home in HFR right now and by the time there is it will be supported by most new TVs thanks to its inclusion in the HDMI 2. 1 spec - although those TVs will also need a processor powerful enough to work with the high frame rate signal it's receiving. In short, it's not really worth getting too caught up with HFR right now, but the situation should be much clearer as we move into 2020. MORE: HDMI 2. 1: everything you need to know LG 2019 TVs: everything you need to know.

25 frame rate fakat müzeyyen bu derin bir tutku izle full. Efsane dizi poyraz Karayel. poyraz in konuşmaları süper... tam giderken geri geliyor ya cok komik :d. 2 disslike Müzeyyen ve Arif. Description N/A * Erdal Besikçioglu. Arif Sezin Akbasogullari. Müzeyyen Erdinç Gülener. Poyraz Ege Aydan. Video: Format. MP4 / x264 Duration. 01:40:52 Bitrate. 1000 Kbps Resolution. Width/Height. 720x400 pixels Frame Rate. 25 fps Audio. AAC. 96 Kbps Channels. 2 Channels Sample Rate. 48 KHz Language. Turkish Release info: Encoded/Released By. Ozlem / ETRG Title/Year. Fakat Muzeyyen Bu Derin Bir Tutku / 2014 File Size. 753 MiB Genre. Drama, Romance Source. DVD5 Subtitles. NA IMDB * Note. This movie can be watched on TV, PC, tablets and phones with high quality. If you have any problems with video/audio, Please update K Lite Mega Codec pack. Tested on MPC, VLC, PS 3/4, PSP, XBOX 360, iTunes, ipad2, ipad mini, iphone 4/5S/6, Samsung Galaxy S5/S6, Samsung/LG/Vestel/SONY/Panasonic/Philips/Sharp/Toshiba/Beko/Arçelik/Sunny Smart TV U can Follow Us on F a c e b o o k. encoder ozlem [Please click on this link to reach all of ozlem encodes. Make sure it is Genuine ETRG release @ or from our Trusted Accounts elswhere Follow Us on * Help us by donating with Bitcoin: 1XeH1kKXWYbzZcFHokGiZ4d3MWW5WyXzU More at And And And Files 754 MB Torrent Downloaded From 300 B.

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