NationMaster - Encyclopedia: Telecine

Telecine (IPA pronunciation: [ˈtɛləˌsɪni] or [ˌtɛləˈsɪni]; [ˌtɛləˈsɪnə]; also [ˌtɛləˈsiːn]. Phonetic: "tel-e-Sin-ee"; "tel-e-Sin-a" as 'cine' is the same root as in 'cinema'; also "tele-seen".) is the process of transferring motion picture film into electronic form, or the machine used in this process. Telecine enables a motion picture, captured originally on film, to be viewed with standard video equipment, such as televisions, video cassette decks or computers. This allows producers and distributors working in film to release their products on video and allows producers to use video production equipment to complete their film projects. “Telecine” is combination of “television” and “cinema.” Within the film industry, it is also referred to as a TK, as TC is already used to designate time code. Articles with similar titles include the NATO phonetic alphabet, which has also informally been called the â€œInternational Phonetic Alphabetâ€. For information on how to read IPA transcriptions of English words, see IPA chart for English. ... â€œMoving pictureâ€ redirects here. ... â€œMoving pictureâ€ redirects here. ... The video cassette recorder (or VCR, less popularly video tape recorder) is a type of video tape recorder that uses removable cassettes containing magnetic tape to record audio and video from a television broadcast so it can be played back later. ... A film producer creates the conditions for making movies. ... Timecode is also the title of a 2000 film directed by Mike Figgis which was shot in one continuous take. ...

Basic principle

The telecine was invented to transfer motion picture film images into video signals. In all forms of telecine, light is projected through the film (whether negative or positive image) onto a pick-up device that translates the image into an electronic (or digital) video signal. This also allows the electronic (or digital) video signal to be processed and altered. See color grading for more information. Color grading is the process of altering and enhancing the color of a motion picture or television image, either electronically, photo-chemically or digitally. ...

History of telecine

With the advent of popular television, broadcasters soon realized they needed more than live programming. By turning to film-originated material, they would have access to the wealth of films made for the cinema before television in addition to originating television programming on film that could be aired at different times. Broadcasters needed to find a way to record a live broadcast on film to re-broadcast later. The kinescope was the early tool for this.^[1] With the advent of color television, the film-chain tool—quite literally a film projector hooked to a video camera—came onto the scene. In the United States, this Film Chain was a film projector attached to a video camera with three vidicon image tubes. The image from the projector was separated via prism into the three primary colors, each directed at a vidicon tube. The three signals were then recombined to form the color video image.^[2] In the United Kingdom, Rank Precision Industries was experimenting with the flying-spot scanner, which invented the cathode ray tube (CRT) concept of a television screen. The CRT emits a pixel-sized electron beam, which is converted to a photon beam through the phosphors coating the envelope, which then passes through the film into a pickup device. The modern telecine was born. In 1950 The first Rank flying spot telecine was installed at the BBC's Lime Grove studios. Kinescope (IPA: [], []) originally referred to the cathode ray tube used in television monitors. ... Type of Film island - Film chain A Film chain or Film island is a television - TV camera with one or more projectors aligned into the lens of the camera. ... In older video cameras, before the 1990s, a video camera tube or pickup tube was used instead of a charge-coupled device (CCD). ... Cathode ray tube employing electromagnetic focus and deflection Cutaway rendering of a color CRT: 1. ...

Flying spot scanner

In a flying spot scanner (FSS) or cathode-ray tube (CRT) telecine, a pixel-sized light beam is projected through exposed and developed motion picture film (either negative or positive) at a phosphor-coated envelope. This beam of light “scans” across the film image from left to right to record the vertical frame information. Horizontal scanning of the frame was then accomplished by moving the film past the CRT beam. This beam passes through the film image, projecting it pixel-by-pixel onto the pickup (phosphor-coated envelope). The light from the CRT passes through the film and is separated by dichroic mirrors and filters into red, green and blue bands. Photomultiplier tubes or avalanche photodiodes convert the light into separate red, green & blue electrical signals for further electronic processing. This can be accomplished in “real time”, 24 frames a second (or in some cases faster). Rank Precision-Cintel introduced the “Mark” series of FSS telecines, culminating in the MkIII (1975). The problem with Flying Spots was the difference in frequencies between television field rates and film frame rates. This was solved first by the Mk1 Polygonal Prism system, then the Mk II Twin Lens and finally the Mk III Hopping Patch (jump scan). The Mk III series progressed from the original “jump scan” interlace scan to the MK IIIB which used a progressive scan and included a digital scan converter (Digiscan) to output interlaced video. The Mk IIIC was the most popular of the series and used a next generation Digiscan plus other improvements. The Mk I was remarkable in that the film could be run at any speed, and was optically sychronised to the television frame rate by the rotating prism. That series was then replaced by the Ursa (1989), the first in their line of telecines capable of producing digital data in 4:2:2 color space. The Ursa Gold (1993) stepped this up to 4:4:4 and then the Ursa Diamond (1997), which incorporated many third-party improvements on the Ursa system.^[3] Image File history File linksMetadata Download high resolution version (1192x792, 62 KB)Created by Jay Holben (User:LACameraman). ... Image File history File linksMetadata Download high resolution version (1192x792, 62 KB)Created by Jay Holben (User:LACameraman). ... A flying spot scanner uses a high resolution, high light output, low persistance Cathode Ray Tube CRT to scan an image, usually from motion picture film or a slide. ... The cathode ray tube or CRT, invented by Karl Ferdinand Braun, is the display device used in most computer displays, video monitors, televisions and oscilloscopes. ... A flying spot scanner uses a high resolution, high light output, low persistance Cathode Ray Tube CRT to scan an image, usually from motion picture film or a slide. ... The cathode ray tube or CRT, invented by Karl Ferdinand Braun, is the display device used in most computer displays, video monitors, televisions and oscilloscopes. ... Color, positive picture (A) and negative (B), monochrome positive picture (C) and negative (D) In photography, a negative may refer to 3 different things, although they are all related. ... In optics, the term dichroic has two related but distinct meanings. ... Photomultipliers, or photomultiplier tubes (PMT) are extremely sensitive detectors of light in the ultraviolet, visible and near infrared. ... Avalanche photodiodes (APDs) are photodetectors that can be regarded as the semiconductor analog to photomultipliers. ... Cintel International is a company specializing in products for the film post production industry. ...

CCD

The Robert Bosch GmbH, Fernseh Div., which later became BTS inc. - Philips Digital Video Systems and is now part of Thomson's Grass Valley, introduced the worlds first CCD telecine (1979), the FDL-60. The FDL-60 designed and made in Darmstadt West Germany, was the first all solid state Telecine. Image File history File linksMetadata Download high resolution version (1131x654, 55 KB) Summary Description: The inner workings of a CCD telecine. ... Image File history File linksMetadata Download high resolution version (1131x654, 55 KB) Summary Description: The inner workings of a CCD telecine. ... Logo of Robert Bosch GmbH Robert Bosch GmbH [1] is a German corporation which was started in 1886 by Robert Bosch in Stuttgart, Germany. ... Fernseh // Fernseh is German for Television. ... Broadcast Television Systems Inc. ... Philips HQ in Amsterdam Koninklijke Philips Electronics N.V. (Royal Philips Electronics N.V.), usually known as Philips, (Euronext: PHIA, NYSE: PHG) is one of the largest electronics companies in the world, founded and headquartered in the Netherlands. ... This article is about the media and entertainment company. ... Grass Valley, previously known as Grass Valley Group, is a subsidiary company of the French company Thomson. ... For other uses, see Darmstadt (disambiguation). ...

Rank Cintel (ADS telecine 1982) and Marconi Company (1985) both made CCD Telecines for a short time. Cintel International is a company specializing in products for the film post production industry. ... The Marconi Company Ltd. ...

In a charge-coupled device (CCD) telecine, a “white” light is shone through the exposed film image into a prism, which separates out the image into the three primary colors, red, green and blue. Each beam of colored light is then projected at a different CCD, one for each color. The CCD converts the light into electrical impulses which the telecine electronics modulate into a video signal which can then be recorded onto video tape or broadcast. A specially developed CCD used for ultraviolet imaging in a wire bonded package. ... In telecommunications, modulation is the process of varying a periodic waveform, i. ...

Philips - BTS eventually evolved the FDL-60 into the FDL 90 (1989)/ Quadra (1993). In 1996 Philips working with Kodak introduced the Spirit DataCine (SDC 2000), which was capable of scanning the film image at HDTV resolutions and approaching 2K (1920 Luminance and 960 Chrominace RGB) x 1556 RGB. With the data option the Spirit DataCine can be used as a motion picture film scanner outputting 2K DPX data files as 2048 x 1556 RGB. In 2000 Philips introduced the Shadow Telecine (STE) this is a low cost version of the Spirit, with no Kodak parts. The Spirit DataCine, Cintel's C-Reality and ITK's Millennium opened the door to the technology of digital intermediates wherein telecine coloring tools were not just for video outputs, but could now be used for high-resolution data that would later be recorded back out to film.^[3]The Grass Valley Spirit 4k (2004) replaced the Spirit 1 Datacine and uses both 2K and 4k line array CCDs. Eastman Kodak Company (NYSE: EK) is a large multinational public company producing photographic equipment. ... High-definition television (HDTV) means broadcast of television signals with a higher resolution than traditional formats (NTSC, SECAM, PAL) allow. ... To meet Wikipedias quality standards, this article or section may require cleanup. ... Display standards comparison The display resolution of a digital television or computer display typically refers to the number of distinct pixels in each dimension that can be displayed. ... DPX, the short form of Digital Picture Exchange, is a common file format for digital film work and is an ANSI/SMPTE standard (268M-2003). ... A data file is a computer file which stores data for use by a computer application or system. ... Cintel International is a company specializing in products for the film post production industry. ... Digital intermediate (often abbreviated as DI) describes the process of digitizing a motion picture and manipulating color and other image characteristics to change the look, and is usually the final creative adjustment to a movie before distribution in theaters. ... To meet Wikipedias quality standards, this article or section may require cleanup. ... Grass Valley, previously known as Grass Valley Group, is a subsidiary company of the French company Thomson. ...

Digital intermediate systems and virtual telecines

Telecine technology is increasingly merging with that of Motion picture film scanners; high-resolution telecines, such as those mentioned above, can be regarded as film scanners that operate in real time. To meet Wikipedias quality standards, this article or section may require cleanup. ...

As digital intermediate post-production becomes more common, the need to combine the traditional telecine functions of input devices, standards converters, and colour grading systems is becoming less important as the post-production chain changes to tapeless and filmless operation. Digital intermediate (often abbreviated as DI) describes the process of digitizing a motion picture and manipulating color and other image characteristics to change the look, and is usually the final creative adjustment to a movie before distribution in theaters. ...

However, the parts of the workflow associated with telecines still remain, and are being pushed to the end, rather than the beginning, of the post-production chain, in the form of real-time digital grading systems and digital intermediate mastering systems, increasingly running in software on commodity computer systems. These are sometimes called virtual telecine systems. Virtual telecine is Video equipment that can play pack data files in real time. ...

Controllers

Color grading is the process of altering and enhancing the color of a motion picture or television image, either electronically, photo-chemically or digitally. ... da Vinci Systems is high end video equipment manufacturer in Coral Springs, Florida. ... Color grading is the process of altering and enhancing the color of a motion picture or television image, either electronically, photo-chemically or digitally. ... Color grading is the process of altering and enhancing the color of a motion picture or television image, either electronically, photo-chemically or digitally. ... da Vinci Systems is high end video equipment manufacturer in Coral Springs, Florida. ... A video tape recorder (VTR), is a tape recorder that can record video material. ... Note: Please see National Latin Examination for the standardized test that is also abbreviated NLE. A non-linear editing system (abbreviated NLE) is a video editing or audio editing system that can perform random access on the source material. ... da Vinci Systems is high end video equipment manufacturer in Coral Springs, Florida. ... Fernseh // Fernseh is German for Television. ... Cintel International is a company specializing in products for the film post production industry. ... Standard-definition television or SDTV refers to television systems that have a lower resolution than HDTV systems. ... Events Bernicia settled by the Angles Ethiopia conquers Yemen The Daisan river, a tributary of the Euphrates, floods Edessa and within a couple of hours fills the entire city except for the highest parts. ... Events October 27 - Pope Boniface V succeeded by Pope Honorius I. Births Adamnan, abbot of Iona Empress Wu Zetian of China Deaths Pope Boniface V Category: 625 ...

Frame rate differences

The most complex part of telecine is the synchronization of the mechanical film motion and the electronic video signal. Every time the video part of the telecine samples the light electronically, the film part of the telecine must have a frame in perfect registration and ready to photograph. This is relatively easy when the film is photographed at the same frame rate as the video camera will sample, but when this is not true, a sophisticated procedure is required to change frame rate. Frame rate, or frame frequency, is the measurement of the frequency (rate) at which an imaging device produces unique consecutive images called frames. ... Synchronization (or Sync) is a problem in timekeeping which requires the coordination of events to operate a system in unison. ... In film, video production, animation, and related fields, a frame is one of the many still images which compose the complete moving picture. ... Frame rate, or frame frequency, is the measurement of the frequency (rate) at which an imaging device produces unique consecutive images called frames. ...

In countries that use the PAL or SECAM video standards, film destined for television is photographed at 25 frames per second. The PAL video standard broadcasts at 25 frames per second, so the transfer from film to video is simple; for every film frame, one video frame is captured. Theatrical features originally photographed at 24 frame/s are simply sped up by 4% to 25 frame/s. While this is usually not noticed in the picture it causes a slightly noticeable increase in audio pitch by about one semitone, which is sometimes corrected using a pitch shifter, though pitch shifting is a recent innovation and precedes an alternative method of telecine for 25 frames/s formats. However, a difference between the two is rarely noticed unless the original audio is compared side by side with the pitched audio. For other uses, see PAL (disambiguation). ... SECAM, also written SÃ‰CAM (SÃ©quentiel couleur Ã mÃ©moire, French for Sequential Color with Memory), is an analog color television system first used in France. ... Pitch is the perceived fundamental frequency of a sound. ... A semitone (also known in the USA as a half step) is a musical interval. ... Time stretching is the process of changing the speed or duration of an audio signal without affecting its pitch. ...

Although the 4% speed increase has been standard since the early days of PAL and SECAM television, recently a new technique (see 2^12:3 pulldown, below) has gained popularity. This method converts every film frame to two video fields, except that every 12th frame is repeated, fitting exactly within 25 frames (50 fields) of video per second. The speed and pitch of the telecined presentation are identical to that of the original film.

In the United States and other countries that use the NTSC television standard, film is generally photographed at 24 frame/s. Color NTSC video is broadcast at 29.97 frame/s. For the film's motion to be accurately rendered on the video signal, an NTSC telecine must use a technique called the 3:2 pulldown to convert from 24 to 29.97 frame/s. NTSC is the analog television system in use in the United States, Canada, Japan, South Korea, the Philippines, Mexico, and some other countries, mostly in the Americas (see map). ...

Similar techniques must be used for films shot at “silent speeds” of less than 24 frame/s (about 18fps), which include most silent movies themselves as well as many home movies. This article is about the comedy film. ... Home Movies is a dialogue-driven animated series about 8-year-old Brendon Small (voiced by the creator, head writer, and lead musician of Home Movies Brendon Small), who makes films with his friends, Melissa and Jason, in his spare time. ...

Common pulldown patterns

3:2 pulldown

The process of converting 24 frame/s material to 29.97 frame/s is known as 3:2 pulldown. The term “pulldown” comes from the mechanical process of “pulling” the film down to advance it from one frame to the next at a repetitive rate (nominally 24 fps). This is accomplished in two steps. The first step is to slow down the film motion by 1/1001. This speed change is unnoticeable to the viewer, and makes the film travel at 23.976 frame/s.

The second step of the 3:2 pulldown is the 3:2 (or 2:3, see below) step. At 23.976 frame/s, there are four frames of film for every five frames of NTSC video:

These four frames are “stretched” into five by exploiting the interlaced nature of NTSC video. For every NTSC frame, there are actually two complete images or fields, one for the odd-numbered lines of the image, and one for the even-numbered lines. There are, therefore, ten fields for every 4 film frames, and the telecine alternately places one film frame across two fields, the next across three, the next across two, and so on. The cycle repeats itself completely after four film frames have been exposed, and in the telecine cycle these are called the A, B, C, and D frames, thus:

Note that the pattern in this example is actually 2–3. A 3–2 pattern is identical to this except that it is shifted by one frame. For instance, starting with film frame B, followed by frame C, yields a 3–2 pattern (B-B-B-C-C). In other words, there is no difference between the two — it is only a matter of reference. Image File history File links 32pulldown. ...

The above method is a "classic" 3:2, which was used before frame buffers allowed for holding more than one frame. The prefered method for doing a 3:2, creates only one dirty frame in every 5, while this method has a slight bit more judder, it allows for easier upconversion, and a better over all compression when encoding.

Display frame 1 and 2 for two fields each, and then frame 3 for three fields, and frame 4 for 3 fields. Honoring the original spatial placement of the fields. This results in Frame 4 of the new 5 frames being dirty. Diagram here

2^12:3, or 2:2:2:2:2:2:2:2:2:2:2:3 pulldown

This^[4] pulldown method^[5] is sometimes used in order to convert 24 frame/s material to 25 frame/s. Usually, this involves a film to PAL transfer without the aforementioned 4% speedup. For film at 24 frame/s, there are 24 frames of film for every 25 frames of PAL video. In order to accommodate this mismatch in frame rate, 24 frames of film have to be distributed over 50 PAL fields. This can be accomplished by inserting a pulldown field every 12 frames, thus effectively spreading 12 frames of film over 25 fields (or “12.5 frames”) of PAL video.

This method was born out of a frustration with the faster, higher pitched soundtracks that traditionally accompanied films telecined for PAL and SECAM audiences. More motion pictures are beginning to be telecined this way^{[citation needed]}. It is particularly suited for films where the soundtrack is of special importance.

Other pulldown patterns

16 fps (actually 15.985) to NTSC 30 fps (actually 29.97), pulldown should be 3:4:4:4; 16 fps to PAL, pulldown is should be 3:3:3:3:3:3:3:4; 18 fps (actually 17.982) to NTSC, pulldown should be 3:3:4; 20 fps (actually 19.980) to NTSC, pulldown should be 3:3.

Telecine judder

The “3:2 pulldown” telecine process creates a slight error in the video signal compared to the original film frames that can be seen in the above image. This is one reason why NTSC films viewed on typical home equipment may not appear as smooth as when viewed in a cinema. The phenomenon is particularly apparent during slow, steady camera movements which appear slightly jerky when telecined. This process is commonly referred to as telecine judder. Reversing the 2-3 pulldown telecine is discussed below.

PAL material in which 2:2:2:2:2:2:2:2:2:2:2:3 pulldown has been applied, suffers from a similar lack of smoothness, though this effect is not usually called “telecine judder”. Effectively, every 12th film frame is displayed for the duration of 3 PAL fields (60 milliseconds), whereas the other 11 frames are all displayed for the duration of 2 PAL fields (40 milliseconds). This causes a slight “hiccup” in the video about twice a second.

Reverse telecine (a.k.a. IVTC/inverse telecine)

Some DVD players, line doublers, and personal video recorders are designed to detect and remove 2-3 pulldown from interlaced video sources, thereby reconstructing the original 24 frame/s film frames. This technique is known as “reverse” or “inverse” telecine. Benefits of reverse telecine include high-quality non-interlaced display on compatible display devices and the elimination of redundant data for compression purposes. The inside of a DVD player A DVD player is a device not only playing discs produced under the DVD Video standard but also playing discs under the standard of DVD Audio. ... A line doubler is a device used to de-interlace video signals prior to display. ... A digital video recorder (DVR) is a device that records video to a digital storage medium in digital form. ...

Reverse telecine is crucial when acquiring film material into a digital non-linear editing system such as an Avid or Final Cut Pro, since these machines produce negative cut lists which refer to specific frames in the original film material. When video from a telecine is ingested into these systems, the operator usually has available a “telecine trace,” in the form of a text file, which gives the correspondence between the video material and film original. Alternatively, the video transfer may include telecine sequence markers “burned in” to the video image along with other identifying information such as time code. Note: Please see National Latin Examination for the standardized test that is also abbreviated NLE. A non-linear editing system (abbreviated NLE) is a video editing or audio editing system that can perform random access on the source material. ... AVID (meaning Advancement Via Individual Determination) is a college-preparatory program designed to aid economically disadvantaged, and academically average first-generation students of both elementary and high schools into college. ... Final Cut Pro is a professional non-linear editing system developed by Apple Inc. ...

It is also possible, but more difficult, to perform reverse telecine without prior knowledge of where each field of video lies in the 2-3 pulldown pattern. This is the task faced by most consumer equipment such as line doublers and personal video recorders. Ideally, only a single field needs to be identified, the rest following the pattern in lock-step. However, the 2-3 pulldown pattern does not necessarily remain consistent throughout an entire program. Edits performed on film material after it undergoes 2-3 pulldown can introduce “jumps” in the pattern if care is not taken to preserve the original frame sequence (this often happens during the editing of television shows and commercials in NTSC format). Most reverse telecine algorithms attempt to follow the 2-3 pattern using image analysis techniques, e.g. by searching for repeated fields.

Algorithms that perform 2-3 pulldown removal also usually perform the task of deinterlacing. It is possible to algorithmically determine whether video contains a 2-3 pulldown pattern or not, and selectively do either reverse telecine (in the case of film-sourced video) or deinterlacing (in the case of native video sources). Deinterlacing is the process of converting interlaced video (a sequence of fields) into a non-interlaced form (a sequence of frames). ...

Digital television, and high definition

Digital television and high definition standards provide several methods for encoding film material. 50 field/s formats such as 576i50 and 1080i50 can accommodate film content using a 4% speed-up like PAL. 59.94 field/s interlaced formats such as 480i60 and 1080i60 use the same 2-3 pulldown technique as NTSC. In 59.94 frame/s progressive formats such as 480p60 and 720p60, entire frames (rather than fields) are repeated in a 2-3 pattern, accomplishing the frame rate conversion without interlacing and its associated artifacts. Other formats such as 1080p24 can decode film material at its native rate of 24 or 23.976 frame/s. Digital television (DTV) is a telecommunication system for broadcasting and receiving moving pictures and sound by means of digital signals, in contrast to analog signals used by analog (traditional) TV. DTV uses digital modulation data, which is digitally compressed and requires decoding by a specially designed television set, or a... High-definition television (HDTV) means broadcast of television signals with a higher resolution than traditional formats (NTSC, SECAM, PAL) allow. ... 576i is the shorthand name for a video mode. ... (Redirected from 1080i50) 1080i is the shorthand name for a category of video modes. ... 480i is the shorthand name for a video mode. ... (Redirected from 1080i60) 1080i is the shorthand name for a category of video modes. ... 480p is the shorthand name for a video mode. ... 720p is the shorthand name for a category of video modes. ... 1080p is the shorthand name for a category of video modes. ...

All of these coding methods are in use to some extent. In PAL countries, 25 frame/s formats remain the norm. In NTSC countries, most digital broadcasts of 24 frame/s material, both standard and high definition, continue to use interlaced formats with 2-3 pulldown. Native 24 and 23.976 frame/s formats offer the greatest image quality and coding efficiency, and are widely used in motion picture and high definition video production. However, most consumer video devices do not support these formats.

DVDs

On DVDs, telecined material may be either hard telecined, or soft telecined. In the hard-telecined case, video is stored on the DVD at the playback framerate (29.97 frames/sec for NTSC, 25 frames/sec for PAL), using the telecined frames as shown above. In the soft-telecined case, the material is stored on the DVD at the film rate (24 or 23.976 frames/s) in the original progressive format, with special flags inserted into the MPEG-2 video stream that instruct the DVD player to repeat certain fields so as to accomplish the required pulldown during playback.^[6] Progressive scan DVD players additionally offer output at 480p by using these flags to duplicate frames rather than fields. MPEG-2 is a standard for the generic coding of moving pictures and associated audio information [1]. It is widely used around the world to specify the format of the digital television signals that are broadcast by terrestrial (over-the-air), cable, and direct broadcast satellite TV systems. ... Progressive scan Progressive or noninterlaced scanning is any method for displaying, storing or transmitting moving images in which the lines of each frame are drawn in sequence. ... 480p is the shorthand name for a video mode. ...

NTSC DVDs are often soft telecined, although lower-quality hard-telecined DVDs exist. In the case of PAL DVDs using 2:2 pulldown, the difference between soft and hard telecine vanishes, and the two may be regarded as equal. In the case of PAL DVDs using 2:3 pulldown, either soft or hard telecining may be applied.

Contents

Basic principle

History of telecine

Flying spot scanner

CCD

Digital intermediate systems and virtual telecines

Controllers

Frame rate differences

Common pulldown patterns

3:2 pulldown

2^12:3, or 2:2:2:2:2:2:2:2:2:2:2:3 pulldown

Other pulldown patterns

Telecine judder

Reverse telecine (a.k.a. IVTC/inverse telecine)

Digital television, and high definition

DVDs

See also

References

External links

Contents

Basic principle GA_googleFillSlot("encyclopedia_square");

History of telecine

Flying spot scanner

CCD

Digital intermediate systems and virtual telecines

Controllers

Frame rate differences

Common pulldown patterns

3:2 pulldown

2^12:3, or 2:2:2:2:2:2:2:2:2:2:2:3 pulldown

Other pulldown patterns

Telecine judder

Reverse telecine (a.k.a. IVTC/inverse telecine)

Digital television, and high definition

DVDs

See also

References

External links

Basic principle