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Film look (also known as filmizing or film-look) is a process in which video is altered in overall appearance to appear to have been shot on film stock. [1] The process is usually electronic, although filmizing can sometimes occur as an unintentional by-product of some optical techniques, such as telerecording. The effect is the exact opposite of a process called VidFIRE. [2]
Today, most digital cinematography video cameras in use feature 24p format (24 progressive frames per second).
When shooting with old cameras, 50 Hz interlaced video (usually used with most forms of PAL and SECAM) can be relatively easily processed to give 25 progressive frames per second, which is the framerate that the PAL/SECAM telecine process also uses. Every two video fields can be "blended" together, every other field can be decimated and the remaining fields can be shown for double the length (this noticeably reduces vertical resolution), or a motion estimation process can be applied to achieve one frame out of every two fields. This technique is sometimes called Field-removed video or FRV. Some modern PAL video cameras do offer the ability to produce 25 frame-per-second progressive video, negating the requirement of post-processing the video to get a temporal similarity to film.
On the other hand, it is much more complicated to convert 60 Hz interlaced video (used with NTSC and PAL-M) to a framerate resembling that of film. Doing the same as PAL/SECAM filmizing will yield 30 frame-per-second video, which is significantly faster than film. Two out of every five fields could be dropped (and 3:2 Pulldown can be applied to the remaining fields), but any motion after this process will look very uneven. Sophisticated computer motion estimation and field blending is usually used to convert NTSC video to 24 frames-per-second – something which could not have been done until recently, and still does not yield as realistic results as PAL filmizing conversion.
Many computer editing programs can de-interlace video to give it more of a film look. An interlaced frame is actually the combination of two fields, one providing the odd-numbered scan lines and the other the even-numbered. Interlacing results in a type of motion blur known as "combing", and also shows "interline twitter" where vertical details approach the resolution limit, neither of which occur in film. De-interlacing can remove or reduce these artifacts, resulting in an appearance closer to that of film.
Some inexpensive consumer editing programs achieve de-interlacing by deleting one of the fields.[ citation needed ] The result gives half the vertical resolution of the original frame, and sometimes adds a jagged effect to the picture.
For each frame, video cameras normally expose their sensor as long as they can, while film cameras only expose the negative up to half this time, so that they can transport the negative in the remaining time. Many video cameras now allow adjusting the shutter timing manually, though, so this is no longer a big concern.
Old video technology only had a 5 stop exposure dynamic range. Modern HD video cameras have up to 14 stops. [3] The exposure range is therefore less of an issue than before, although there is still a popular belief that video is considerably worse than film in the shoulder of the gamma curve, where whites blow out in video, while film tends to overexpose more evenly and gracefully. [4]
The footage may also be graded to have more of a "filmic look." In the US, this process is often referred to as color timing.
In a standard film projector, each frame of film is positioned, or registered by being held motionless against a rectangular opening, known as the gate, for a fraction of a second. While in the gate, light passes through the image in the frame, to be projected onto the screen. As soon as the shutter cuts off the light, either sprockets or a device called a claw is used to move the film rapidly so that the next frame can be registered in the gate before the shutter opens again. However, the pins on the sprockets (or the claw) do not fit the sprocket holes in the film perfectly. There must be some slight clearance to allow the pins to enter and leave the sprocket holes without undue friction or binding. This discrepancy means that each frame cannot be positioned perfectly within the gate each time; the frame may be slightly too high or low (jump) or to the left or right (weave). This introduces unintended motion from frame to frame as the film is projected. This discrepancy can increase as the film becomes worn with use, causing the sprocket holes to become more and more enlarged, thus allowing more error in frame position.
When film is scanned so that an electronic (video) copy can be made, various means are used to help ensure that the variations in frame position as a result of sprocket hole wear are minimized. The more effective these means are, the less of a 'film look' the result will have. On the contrary, if this compensation is reduced or disabled, the resulting electronic copy may exhibit more jump and weave, giving the result a sense of constant jitter.
US productions most often use actual film for prime time dramas and situation comedy series and filmizing is more common outside North America. Video production is cheaper than film.[ citation needed ]
Television series, specials, Soap operas, Sitcoms and films that have been filmized include:
Many digitally-shot Television and film productions have been filmized during mastering.
Footage that has been shot with the knowledge that it will be subsequently electronically filmized is usually shot in a very different way, with film-style lighting and framing. Regardless, there have been several attempts to process ordinary videotape to look like film, usually with little success. Notable examples include Red Dwarf Remastered – digitally remastered versions of the first three series of Red Dwarf . As well as being filmized, the episodes had been cropped to widescreen and had all their special effects remade.
BBC hospital drama-soap Casualty also flirted briefly with the filmizing process in the mid-1990s, but it was quickly dropped after viewer complaints that the show "looked wrong." The same happened with Emmerdale where it was used for 7 episodes in October 2002 before being quietly dropped.
The fantasy series Neverwhere was a video-based production which suffered as a result of having been shot and lit with filmization in mind. The decision to filmize was later reversed, resulting in a negative response to the film-style lighting which came across poorly on the unprocessed video footage.
Filmizing success stories include The League of Gentlemen , Spaced , The Office and Heartbeat , all of which can fool most people into believing they were shot on film. On 25 November 2007 an episode of Heartbeat was broadcast without filmizing and the show's producers later admitted this was a post-production error. This error caused alarm amongst the show's fans amidst fears that a permanent switch to video was being made indicating the success of the filmizing technique on this production.
The Fox show Arrested Development used an elaborate post-production process to adjust colors and brightness levels to match those of film stock.
The 1970s BBC TV show Porridge provides a stark example of the visual differences between film and videotape. The show employed videotape for scenes inside Fletcher's cell, whereas film was used for scenes outside of the cell. The difference in lighting style and frame rate is very noticeable. Many British television series from the 1960s through the 1980s used videotape for interior scenes and film for exterior shots due to equipment limitations. This was parodied in the 'Society for Putting Things on top of Other Things' sketch in Monty Python's Flying Circus (Series 2, Episode 5). [5]
Digital video is an electronic representation of moving visual images (video) in the form of encoded digital data. This is in contrast to analog video, which represents moving visual images in the form of analog signals. Digital video comprises a series of digital images displayed in rapid succession, usually at 24, 30, or 60 frames per second. Digital video has many advantages such as easy copying, multicasting, sharing and storage.
Video is an electronic medium for the recording, copying, playback, broadcasting, and display of moving visual media. Video was first developed for mechanical television systems, which were quickly replaced by cathode-ray tube (CRT) systems, which, in turn, were replaced by flat-panel displays of several types.
Interlaced video is a technique for doubling the perceived frame rate of a video display without consuming extra bandwidth. The interlaced signal contains two fields of a video frame captured consecutively. This enhances motion perception to the viewer, and reduces flicker by taking advantage of the phi phenomenon.
Kinescope, shortened to kine, also known as telerecording in Britain, is a recording of a television programme on motion picture film, directly through a lens focused on the screen of a video monitor. The process was pioneered during the 1940s for the preservation, re-broadcasting and sale of television programmes before the introduction of quadruplex videotape, which from 1956 eventually superseded the use of kinescopes for all of these purposes. Kinescopes were the only practical way to preserve live television broadcasts prior to videotape.
Telecine is the process of transferring film into video and is performed in a color suite. The term is also used to refer to the equipment used in this post-production process.
Cinematography is the art of motion picture photography.
In video technology, 24p refers to a video format that operates at 24 frames per second frame rate with progressive scanning. Originally, 24p was used in the non-linear editing of film-originated material. Today, 24p formats are being increasingly used for aesthetic reasons in image acquisition, delivering film-like motion characteristics. Some vendors advertise 24p products as a cheaper alternative to film acquisition.
Deinterlacing is the process of converting interlaced video into a non-interlaced or progressive form. Interlaced video signals are commonly found in analog television, digital television (HDTV) when in the 1080i format, some DVD titles, and a smaller number of Blu-ray discs.
HD-MAC was a broadcast television standard proposed by the European Commission in 1986, as part of Eureka 95 project. It belongs to the MAC - Multiplexed Analogue Components standard family. It is an early attempt by the EEC to provide High-definition television (HDTV) in Europe. It is a complex mix of analogue signal, multiplexed with digital sound, and assistance data for decoding (DATV). The video signal was encoded with a modified D2-MAC encoder.
Film-out is the process in the computer graphics, video production and filmmaking disciplines of transferring images or animation from videotape or digital files to a traditional film print. Film-out is a broad term that encompasses the conversion of frame rates, color correction, as well as the actual printing, also called scannior recording.
High-definition 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 or 576 vertical lines (Europe) is considered high-definition. 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, 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.
A rotary disc shutter is a type of shutter. It is notably used in motion picture cameras. Rotary shutters are semicircular discs that spin in front of the film gate, alternately allowing light from the lens to strike the film, or blocking it.
Progressive segmented Frame is a scheme designed to acquire, store, modify, and distribute progressive scan video using interlaced equipment.
This article discusses moving image capture, transmission and presentation from today's technical and creative points of view; concentrating on aspects of frame rates.
High-speed photography is the science of taking pictures of very fast phenomena. In 1948, the Society of Motion Picture and Television Engineers (SMPTE) defined high-speed photography as any set of photographs captured by a camera capable of 69 frames per second or greater, and of at least three consecutive frames. High-speed photography can be considered to be the opposite of time-lapse photography.
High-motion is the characteristic of video or film footage displayed possessing a sufficiently high frame rate that moving images do not blur or strobe even when tracked closely by the eye. The most common forms of high motion are NTSC and PAL video at their native display rates. Movie film does not portray high motion even when shown on television monitors.
A film chain or film island is a television – professional video camera with one or more projectors aligned into the photographic lens of the camera. With two or more projectors a system of front-surface mirrors that can pop-up are used in a multiplexer. These mirrors switch different projectors into the camera lens. The camera could be fed live to air for broadcasting through a vision mixer or recorded to a VTR for post-production or later broadcast. In most TV use this has been replaced by a telecine.
Television standards conversion is the process of changing a television transmission or recording from one video system to another. Converting video between different numbers of lines, frame rates, and color models in video pictures is a complex technical problem. However, the international exchange of television programming makes standards conversion necessary so that video may be viewed in another nation with a differing standard. Typically video is fed into video standards converter which produces a copy according to a different video standard. One of the most common conversions is between the NTSC and PAL standards.
Panavision has been a manufacturer of cameras for the motion picture industry since the 1950s, beginning with anamorphic widescreen lenses. The lightweight Panaflex is credited with revolutionizing filmmaking. Other influential cameras include the Millennium XL and the digital video Genesis.
