TECHNICAL ASPECTS OF 60 HZ CAPTURE in Software

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TECHNICAL ASPECTS OF 60 HZ CAPTURE
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Sixty years ago an electronic communication phenomenon burst onto the consumer scene and was forever to change the world Television brought real-time program creation (absolutely inherent to a medium initially born without a concept of recording) and real-time motion picture display and sound directly into the living room American television was born and raised on the basis of 60 Hz picture capture and 60 Hz picture display (Hertz [Hz], represents cycles per second) This provides moving images comprising 30 separate frames per second, with each of those frames displayed twice as a field of odd- and even-numbered
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CHAPTER TWENTY-SIX
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scan lines These scans are known as fields, which are interlaced together to make a whole image The choice of 60 Hz was made because there were technical advantages back then to locking the picture rate to the already entrenched electric power frequency of 60 Hz Sixty years later, American NTSC television is still 60 Hz (it is actually 5994 Hz for reasons we need not examine here) Many other regions of the world base their television systems on a 50 Hz rate (again, because of the frequency of local electrical power) Either of the two 50 Hz or 60 Hz is now a hugely established norm in virtually every living room in every world Over the ensuing six decades, the refinements to both television technology and television production have been unceasing These encompass both the sheer breadth of program genres and the associated techniques of program creation Very early in television s history the high picture-capture-rate quickly endowed television program directors and camera operators with a creative impetus that sought to push the medium to its limits Live television created its own imaging imperatives Integral to these were the speed with which the television cameras themselves could be moved in terms of dollying, panning, and tilting Later, the speed with which the focal length of the zoom lenses could be exercised would become an integral creative aspect of picture capture The combination of camera motion and lens zooming became a distinctly recognizable footprint of television imagery, creating pictures that would uniquely set it apart from those of the cinema portrayal Indeed, many pictures simply cannot be satisfactorily reproduced at all in 24-frame capture
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CREATIVE ASPECTS OF 60 HZ CAPTURE
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Certainly, the 60 Hz television system is capturing considerably more information in the temporal domain On moving pictures this surely imparts a greater sensation of reality On fast moving pictures such as those encountered in sports, wildlife shows, and certain drama segments it captures and
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portrays quite an authentic and most compelling reproduction of the fluidity of fast motion Of special importance, it has allowed the television display to progressively increase in brightness over the years without an attendant disturbing increase in flicker Even on the still image, there are more images per second being assimilated by the eye and brain, and although difficult to quantify, this too is believed to add a psychophysical picture presence that is not obtained with shuttered 24-frame film imagery Traditional artifacts (picture defects) associated with the interlaced 60 Hz (and 50 Hz) scanning are seemingly largely unnoticed by consumers the world over Their effect on television engineers is quite another matter! Sports productions especially capitalize on the high picturecapture rate of television Fast-moving action in the scenes themselves, in combination with vigorous movement of cameras attempting to rapidly scan that action over significant distances (eg, on a ball field) all contribute to the look of live television (which can be further affected by the rapid and long zooms so familiar in sports coverage) Other technical innovations, such as slow-motion playback of recorded material and electronically shuttered CCD cameras, also add to the creative exploitation of that higher 60 Hz picture-capture rate The television documentary comes in many forms: wildlife and natural history, biography, investigative reports, recapture of historic events and places, mountain-climbing and underwater sagas, human drama stories related to medical, scientific, and societal challenges the range of topics covered only increases every year The very nature of the different documentaries themselves calls for a wide variation in picture aesthetics, creative shooting techniques, and editing Certainly the capture of birds in flight, racing cheetahs, and other specialized wildlife photography demand the highest picture capture rate Many documentaries, by their very nature, specifically seek a stark realism that is better imaged with the 60 Hz system Others call for a heightened sense of drama, and indeed might specifically seek to replicate the special visual practices of movie-making In such a case the 24-frame capture might well be more attractive to a producer
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