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Hub AI
High frame rate AI simulator
(@High frame rate_simulator)
Hub AI
High frame rate AI simulator
(@High frame rate_simulator)
High frame rate
In motion picture technology—either film or video—high frame rate (HFR) refers to higher frame rates than typical prior practice.
The frame rate for motion picture film cameras was typically 24 frames per second (FPS) with multiple flashes on each frame during projection to prevent flicker. Analog television and video employed interlacing where only half of the image (known as a video field) was recorded and played back/refreshed at once but at twice the rate of what would be allowed for progressive video of the same bandwidth, resulting in smoother playback, as opposed to progressive video which is more similar to how celluloid works. The frame rate of analog television and video systems was either 50 or 60 frames per second. Usage of frame rates higher than 24 fps for feature motion pictures and higher than 30 fps for other applications are emerging trends. Filmmakers may capture their projects in a high frame rate so that it can be evenly converted to multiple lower rates for distribution.
In early theater history, there was no standard frame rate established. Thomas Edison's early films were shot at 46 fps, while the Lumière Brothers used 16 fps. This had to do with a combination of the use of a hand crank rather than a motor, which created variable frame rates because of the inconsistency of the cranking of the film through the camera. After the introduction of synch sound recording, 24 fps became the industry standard frame rate for capture and projection of motion pictures. 24 fps was chosen because it was the minimum frame rate that would produce adequate sound quality. This was done because film was expensive, and using the lowest possible frame rate would use the least amount of film.
A few film formats have experimented with frame rates higher than the standard 24 fps. The original 3-strip Cinerama features of the 1950s ran at 26 fps. The first two Todd-AO 70 mm features, Oklahoma! (1955) and Around the World in 80 Days (1956) were shot and projected at 30 fps. Douglas Trumbull's 70 mm Showscan film format operated at 60 fps.
The IMAX HD film Momentum, presented at Seville Expo '92, was shot and projected at 48 fps. IMAX HD has also been used in film-based theme park attractions, including Disney's Soarin' Over California.
The proposed Maxivision 48 format ran 35 mm film at 48 fps, but was never commercially deployed.
Digital Cinema Initiatives has published a document outlining recommended practice for high frame rate digital cinema. 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. Especially for stationary subject matter, when shot with sufficiently fast stock, the physically random repositioning of film grains in each frame at higher rates effectively oversamples the image's spatial resolution beyond the minimum fineness of individual grains when viewed.
High frame rate
In motion picture technology—either film or video—high frame rate (HFR) refers to higher frame rates than typical prior practice.
The frame rate for motion picture film cameras was typically 24 frames per second (FPS) with multiple flashes on each frame during projection to prevent flicker. Analog television and video employed interlacing where only half of the image (known as a video field) was recorded and played back/refreshed at once but at twice the rate of what would be allowed for progressive video of the same bandwidth, resulting in smoother playback, as opposed to progressive video which is more similar to how celluloid works. The frame rate of analog television and video systems was either 50 or 60 frames per second. Usage of frame rates higher than 24 fps for feature motion pictures and higher than 30 fps for other applications are emerging trends. Filmmakers may capture their projects in a high frame rate so that it can be evenly converted to multiple lower rates for distribution.
In early theater history, there was no standard frame rate established. Thomas Edison's early films were shot at 46 fps, while the Lumière Brothers used 16 fps. This had to do with a combination of the use of a hand crank rather than a motor, which created variable frame rates because of the inconsistency of the cranking of the film through the camera. After the introduction of synch sound recording, 24 fps became the industry standard frame rate for capture and projection of motion pictures. 24 fps was chosen because it was the minimum frame rate that would produce adequate sound quality. This was done because film was expensive, and using the lowest possible frame rate would use the least amount of film.
A few film formats have experimented with frame rates higher than the standard 24 fps. The original 3-strip Cinerama features of the 1950s ran at 26 fps. The first two Todd-AO 70 mm features, Oklahoma! (1955) and Around the World in 80 Days (1956) were shot and projected at 30 fps. Douglas Trumbull's 70 mm Showscan film format operated at 60 fps.
The IMAX HD film Momentum, presented at Seville Expo '92, was shot and projected at 48 fps. IMAX HD has also been used in film-based theme park attractions, including Disney's Soarin' Over California.
The proposed Maxivision 48 format ran 35 mm film at 48 fps, but was never commercially deployed.
Digital Cinema Initiatives has published a document outlining recommended practice for high frame rate digital cinema. 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. Especially for stationary subject matter, when shot with sufficiently fast stock, the physically random repositioning of film grains in each frame at higher rates effectively oversamples the image's spatial resolution beyond the minimum fineness of individual grains when viewed.