Groups | Search | Server Info | Keyboard shortcuts | Login | Register [http] [https] [nntp] [nntps]

Groups > comp.lang.basic.visual.misc > #3823

Download Movies High Resolution

Show all headers | View raw

High-definition video (HD video) is video of higher resolution and quality than standard-definition. While there is no standardized meaning for high-definition, generally any video image with considerably more than 480 vertical scan lines (North America) or 576 vertical lines (Europe) is considered high-definition.[citation needed] 480 scan lines is generally the minimum even though the majority of systems greatly exceed that. 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.



download movies high resolution

DOWNLOAD https://0cesput-aopto.blogspot.com/?xsd=2x6RYB 






The first electronic scanning format, 405 lines, was the first high definition television system, since the mechanical systems it replaced had far fewer. From 1939, Europe and the US tried 605 and 441 lines until, in 1941, the FCC mandated 525 for the US. In wartime France, René Barthélemy tested higher resolutions, up to 1,042. In late 1949, official French transmissions finally began with 819. In 1984, however, this standard was abandoned for 625-line color on the TF1 network.


Modern HD specifications date to the early 1980s, when Japanese engineers developed the HighVision 1,125-line interlaced TV standard (also called MUSE) that ran at 60 frames per second. The Sony HDVS system was presented at an international meeting of television engineers in Algiers, April 1981 and Japan's NHK presented its analog high-definition television (HDTV) system at a Swiss conference in 1983.


High-definition digital video was not possible with uncompressed video due to impractically high memory and bandwidth requirements, with a bit rate exceeding 1 Gbit/s for full HD video.[1] Digital HDTV was enabled by the development of discrete cosine transform (DCT) video compression.[2] The DCT is a lossy compression technique that was first proposed by Nasir Ahmed in 1972,[3] and was later adapted into a motion-compensated DCT algorithm for video coding standards such as the H.26x formats from 1988 onwards and the MPEG formats from 1993 onwards.[4][5] Motion-compensated DCT compression significantly reduced the amount of memory and bandwidth required for digital video, capable of achieving a data compression ratio of around 100:1 compared to uncompressed video.[6] By the early 1990s, DCT video compression had been widely adopted as the video coding standard for HDTV.[2]


The current high-definition video standards in North America were developed during the course of the advanced television process initiated by the Federal Communications Commission in 1987 at the request of American broadcasters. In essence, the end of the 1980s was a death knell for most analog high definition technologies that had developed up to that time.


The FCC process, led by the Advanced Television Systems Committee (ATSC) adopted a range of standards from interlaced 1,080-line video (a technical descendant of the original analog NHK 1125/30 Hz system) with a maximum frame rate of 30 Hz, (60 fields per second) and 720-line video, progressively scanned, with a maximum frame rate of 60 Hz.In the end, however, the DVB standard of resolutions (1080, 720, 480) and respective frame rates (24, 25, 30) were adopted in conjunction with the Europeans that were also involved in the same standardization process. The FCC officially adopted the ATSC transmission standard in 1996 (which included both HD and SD video standards).






In the early 2000s, it looked as if DVB would be the video standard far into the future. However, both Brazil and China have adopted alternative standards for high-definition video[citation needed] that preclude the interoperability that was hoped for after decades of largely non-interoperable analog TV broadcasting.


A frame or field rate can also be specified without a resolution. For example, 24p means 24 progressive scan frames per second and 50i means 25 progressive frames per second, consisting of 50 interlaced fields per second. Most HDTV systems support some standard resolutions and frame or field rates. The most common are noted below.High-definition signals require a high-definition television or computer monitor in order to be viewed. High-definition video has an aspect ratio of 16:9 (1.78:1). The aspect ratio of regular widescreen film shot today is typically 1.85:1 or 2.39:1 (sometimes traditionally quoted at 2.35:1). Standard-definition television (SDTV) has a 4:3 (1.33:1) aspect ratio, although in recent years many broadcasters have transmitted programs squeezed horizontally in 16:9 anamorphic format, in hopes that the viewer has a 16:9 set which stretches the image out to normal-looking proportions, or a set which squishes the image vertically to present a letterbox view of the image, again with correct proportions.


The high resolution photographic film used for cinema projection is exposed at the rate of 24 frames per second but usually projected at 48, each frame getting projected twice helping to minimise flicker. One exception to this was the 1986 National Film Board of Canada short film Momentum, which briefly experimented with both filming and projecting at 48 frame/s, in a process known as IMAX HD.


Older (pre-HDTV) recordings on video tape such as Betacam SP are often either in the form 480i60 or 576i50. These may be upconverted to a higher resolution format, but removing the interlace to match the common 720p format may distort the picture or require filtering which actually reduces the resolution of the final output.


Non-cinematic HDTV video recordings are recorded in either the 720p or the 1080i format. The format used is set by the broadcaster (if for television broadcast). In general, 720p is more accurate with fast action, because it progressively scans frames, instead of the 1080i, which uses interlaced fields and thus might degrade the resolution of fast images.


720p is used more for Internet distribution of high-definition video, because computer monitors progressively scan; 720p video has lower storage-decoding requirements than either the 1080i or the 1080p. This is also the medium for high-definition broadcasts around the world and 1080p is used for Blu-ray movies.


Film as a medium has inherent limitations, such as difficulty of viewing footage while recording, and suffers other problems, caused by poor film development/processing, or poor monitoring systems. Given that there is increasing use of computer-generated or computer-altered imagery in movies, and that editing picture sequences is often done digitally, some directors have shot their movies using the HD format via high-end digital video cameras. While the quality of HD video is very high compared to SD video, and offers improved signal/noise ratios against comparable sensitivity film, film remains able to resolve more image detail than current HD video formats. In addition some films have a wider dynamic range (ability to resolve extremes of dark and light areas in a scene) than even the best HD cameras. Thus the most persuasive arguments for the use of HD are currently cost savings on film stock and the ease of transfer to editing systems for special effects.


Since the late 2000s a considerably large number of security camera manufacturers have started to produce HD cameras. The need for high resolution, color fidelity, and frame rate is acute for surveillance purposes to ensure that the quality of the video output is of an acceptable standard that can be used both for preventative surveillance as well as for evidence purposes.[35]


Although, HD cameras can be highly effective indoor, special industries with outdoor environments called for a need to produce much higher resolutions for effective coverage. The ever-evolving image sensor technologies allowed manufacturers to develop cameras with 10-20 MP resolutions, which therefore have become efficient instruments to monitor larger areas.


In order to further increase the resolution of security cameras, some manufacturers developed multi-sensor cameras. Within these devices several sensor-lens combinations produce the images, which are later merged during image processing.[36] These security cameras are able to deliver even hundreds of megapixels with motion picture frame rate.


Generally, PC games are only limited by the display's resolution and GPU driver support. Some PC hardware supports DisplayPort 2.1 for native 8k resolution at high refresh rates.[44] Ultrawide monitors are supported, which can display more of the game world than a traditional display with a 16:9 aspect ratio,[45] and multi-monitor setups are possible, such as having a single game span across three monitors for a more immersive experience.[46]


Fandango, a movie-ticketing company which operates the FandangoNOW streaming service, conducted a survey with FandangoNOW users to determine the best movies to watch in 4K. So if you're looking to get the most out of your fancy high-resolution setup, here are 44 titles that come highly recommended.


Prolonged complex naturalistic stimulation is arguably more likely to elicit brain responses that are representative of naturally occurring brain states and dynamics than artificial, highly controlled experiments with a limited number of simplified conditions. One particularly interesting aspect of natural stimulation using movies is the temporal synchronicity of changes in the response pattern across individual brains, presumably caused by synchronous temporal dynamics of underlying neuronal processes.


Algorithms have been developed that utilize inter-individual synchronicity of changes of the brain state over time to align fMRI data from individual brains into a group space based on functional connectivity patterns11 and BOLD time-series correlation12. Haxby and colleagues were able to demonstrate that temporally synchronous patterns can be used to transform brain response patterns of individual brains into a high-dimensional representational space with common dimensions for all brains13. This technique enables group analyses of distributed activation patterns at the same level of detail and accuracy as the analysis of idiosyncratic patterns of an individual brain. Uniformly, these studies find that deriving inter-individual alignment from fMRI data recorded while participants watch movies yields transformations that are of greater general validity when tested on data from controlled experiments. This is further evidence that movies elicit brain response patterns and dynamics that are representative for naturally occurring neuronal processes.

 35fe9a5643

Back to comp.lang.basic.visual.misc | Previous | Next | Find similar

Thread

Download Movies High Resolution Arvilla Hardan <hardanarvilla@gmail.com> - 2024-01-10 00:07 -0800

csiph-web