Help Library - Final Cut Pro Help - Final Cut Pro 7 User Manual
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`I Appendix D: Frame Rate and fimecode
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`How Many Frames per Second Is Best?
`When recording an object in motion, there are practical reasons to limit the camera frame rate:
`I The Limit of human perception: There is no reason to show more frames per second than the viewer can perceive. The exact limit of human motion
`perception is still up for scientific debate, but it Is generally agreed that there is an upper threshold after which people can't appreciate the
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`- Media cost and size: Film and videotape stock cost money. Higher frame rates require more footage and are more expensive to shoot. Editing and
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`media management become more difficult as the amount of raw media Increases.
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`Recording High Frame Rates for SIow—Motion Effects
`Despite the increased cost and effort, there are cases where shooting higher frame rates is useful. Slow—motion effects are created by recording
`hundreds of frames per second and then playing the same frames back at a slower rate. For example, a bullet shattering a light bulb may take only a
`fraction of second, seeming almost instantaneous to anyone watching. If a camera records the light bulb a thousand times per second and then a
`projector plays the frames back at 24 fps, the movie onscreen will take almost 40 times as long (1000 fps + 24 fps = 41.6 seconds). The higher the
`frame rate, the more temporal (time) resolution your footage has, which means it can be slowed down to show detailed moments that would otherwise
`be a blur. Shooting at high frame rates also requires more light, because there is less time to expose each frame.
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`Recording Slow Frame Rates for Time-Lapse Photography
`Slow frame rates are used for time—lapse photography, in which a scene is recorded relatively slowly, perhaps one frame every second, hour, or day.
`This is useful when you are trying to capture gradually changing events, such as growing plants, the movement of clouds, or the rising and setting of
`the sun. When played back at standard frame rates, events occur rapidly onscreen and otherwise undetectable patterns emerge.
`Stop—motion photography, traditional drawn animation, and computer rendering take a similar approach. The point here is that the rate of creating a
`frame does not necessarily correspond to the rate of playback. This is one of the most exciting propositions of motion pictures and their ability to
`manipulate time: you can create images at whatever rate suits you and play them back at a totally different speed.
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`Examples of How Different Frame Rates Are Used
`Film is especially flexible in that it can be photographed and played back w1th a diverse range of speeds. Some examples are:
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`1 frame per hour: Extreme time—lapse photography.
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`1 frame per minute: Time—lapse photography and stop-motion animation.
`- 18 frames per second: Early motion picture films.
`- 24 frames per second: Worldwide standard for movie theater film projectors.
`- 48 frames per second: Slow-motion photography (because it takes twice as long to play back in a 24 fps projector, the motion is twice as slow).
`- 300+ frames per second: High—speed cameras for very sEow—motion photography (often used for miniatures to make models seem larger on screen).
`- 2500+ frames per second: Very high-speed cameras for special effects such as pyrotechnic photography and explosions.
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`-*- Final cut pm 7 user Manual
`Welcome to Final Cut Pro
`- Ahnut the Post-Produclion
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`' Ville“ F“""a'l5 3|“l Tlfllecmle
`Understanding Projects, Clips, and
`Sequennes
`Overview of the Final Cut Pro
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`Browser Basics
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`- Canvas Basics
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`Timeline Basic:
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`Connecting DV Video Equipment
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`Connecting Professional Video and V
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`KSEA EXHIBIT 2002
`IPR2015-00672