Thrill Kill
From Wikipedia, the free encyclopediaJump to: navigation, searchThis article is about the video game. For the act of murder, see thrill killing.
Thrill Kill is a fighting game that was developed for PlayStation by Paradox Development. It was cancelled by Electronic Arts a few weeks before shipping after EA acquired the original publisher, Virgin Interactive. In a release, EA stated that they didn't want to "publish such a senselessly violent game", as they felt that it would harm their image. They also stated that they deemed the game so offensive that they would not even attempt to sell the game to be released by another publisher either. Later, former employees that had worked on the game released the full game onto the internet, along with various beta versions. All are still widely available through filesharing.Gameplay consisted of a closed 3D Thrill Kill was considered a technical feat for the PlayStation for allowing four players to fight simultaneously in the same room. The content included amputated and handicapped characters, and extremely violent and sexual moves with names such as "Bitch Slap", "Swallow This", and "Head Muncher." room where up to four opponents would fight to the death, and proceed to finish each other off with Thrill Kills, much like the fatalities of Mortal Kombat. Instead of the usual life bar, characters built up a kill meter. Once this meter was full, a player's character could activate a Thrill Kill move to brutally slay an opponent.October 31, 1999 by Activision) a game based on the rap group Wu-Tang Clan. While violent, Wu-Tang: Shaolin Style had less objectionable content than Thrill Kill, and was poorly received. The Thrill Kill engine was later used to make Wu-Tang: Shaolin Style (released on
Game Story
The Thrill Kill title screenEight fighters, eight souls. Each has died and descended into Hell - except it is not the classical Dante’s Hell. It is a modern-day Hell based on the real world of today’s deviants. The characters are the physical manifestations of their mental illnesses or vices on earth. Marukka, the God of Secrets, is bored and decided that it would be fun to pit them all against each other with the prize being reborn. Each character is battling for nothing more than self-preservation and the hope to be born again The Thrill Kill engine was later used in two-player form for X-Men: Mutant Academy (released on July 11, 2000 by Activision), X-Men: Mutant Academy 2 (released on September 17, 2001 by Activision) and Rock 'Em Sock 'Em Robots Arena (released on November 30, 2000 by
Characters
Belladonna
Cain (Sub-Boss)
Cleetus
Oddball
Tormentor
Violet
Dr. Faustus
The Gimp (practice mode only, although, character skin is unlockable using a cheat device such as a Gameshark)
The Imp
Judas (Sub-Boss)
Mammoth
Marukka (Final Boss)
Outfits
Each of the regular characters, not the sub-bosses or final boss, have 4 regular outfits which can be unlocked by completing all of the characters respective moves in practice mode.
There is also a secret 5th outfit which can be unlocked by completing all of the moves for all 8 regular characters and then at the select character screen to press L1+L2 and then X
the 5th outfits are
Belladonna - just like Daisy Duke (hat, short shirt, shorts and cowboy boots).
Cleetus - pirate.
Dr. Faustus - Tux and top hat.
The Imp - he is Black, with an afro and gold chains, and platform shoes.
Mammoth - he is a clown.
Oddball - he is a man in a bear suit.
Tormentor - the judge is going on vacation, Hawaiian shirt and sun glasses.
Violet - She is an alien in a space suit.
Dungeons
The fighting arenas in Thrill Kill are referred to as "Dungeons."
Chamber of Anguish
The Crematorium
Homicide Avenue
Insane Asylum
The Lavatory
Sewer of Styx
Sinner's Cell
Slaughterhouse of Flesh
Sacrificial Ruins(unlockable)
Dante's Cage(unlockable)
Practice Mode Arena(unlockable
Saturday, September 6, 2008
Suspense Videos
In 1948, a Supreme Court ruling in a federal antitrust suit against the leading Hollywood studios, the so-called Big Five, outlawed block booking and led to the divestiture of the majors' theater chains over the next few years. With audiences draining away to television and other economic pressures forcing the studios to scale back production schedules, the Golden Age–style double feature began disappearing from American theaters"). The term retained its earlier suggestion that such movies relied on formulaic plots, "stock" character types, and simplistic action or unsophisticated comedy. At the same time, the realm of the B movie was becoming increasingly fertile territory for experimentation, both serious and outlandish.. After barely inching forward in the 1930s, the average U.S. feature production cost had essentially doubled over the 1940s, reaching $1 million by the turn of the decade (the increase from 1940 to 1950 was 150 percent in simple terms, Westerns as well as producing its own original Western series, the cinematic market for B oaters in particular was drying up.The most B oriented of the Big Five, RKO Pictures, 93 percent after adjusting for inflation).[1] The major studios promoted the benefits of recycling, offering former headlining movies as second features in the place of traditional B films.[2] Their longer running time appears to have both accommodated and hastened the progressive abandonment of the traditional "variety program" of newsreel/cartoon/short preceding the feature presentations at many theaters. With television airing many classicweakened by what one studio historian describes as its "systematic seven-year rape" by former owner Howard Hughes, abandoned the movie industry in 1957.[5] Hollywood's A product was getting longer—the top ten box-office releases of 1940 had averaged 112.5 minutes; the average length of 1955's top ten was 123.4.[6] In their modest way, the B's were following suit. The age of the hour-long feature film was now past; at 69 minutes, Two Guns and a Badge was about as short as Hollywood features ran. In sum, the Golden Age–style second feature was dying. B movie, however, continued to be used in a broader sense, referring to any low-budget genre film featuring relatively unheralded performers ("B actors
[edit] Mutating genres
11] The era's most provocative and unsettling fantasies were made for B-level cycle of movies, mostly low-budget and many long forgotten, classifiable as "atomic bomb cinema."The fear of nuclear war with the Soviet Union, along with less expressible qualms about the effects of radioactive fallout from America's own atomic tests, , The Thing from Another World and The Day the Earth Stood Still, are often mentioned as vanguard examples, but scholar Richard Hodgens argues that they are beasts of a different sort: energized many of the era's genre films. Science fiction, horror, and various hybrids of the two were now of central economic importance to the low-budget end of the business. Most down-market films of the type—like many of those produced by William Alland at Universal (e.g., Creature from the Black Lagoon [1954]) and Sam Katzman at Columbia (e.g., It Came from Beneath the Sea [1955])—provided little more than simple diversion.[10] But these were genres whose fantastic nature could also be used as cover for mordant cultural observations often difficult to make in mainstream movies. Two well-financed films of 1951 The Thing "proved that some money could be made by 'science fiction' that preyed on current fears symbolized crudely by any preposterous
[edit] AIP and Corman
When one of AIP's movies hit, the company was able to take advantage quickly. I Was a Teenage Werewolf premiered June 19, 1957. I Was a Teenage Frankenstein, also produced and cowritten by Herman Cohen, opened just five months later.
The Amazing Colossal Man was released by a new company whose name was much bigger than its budgets. American International Pictures (AIP), founded in 1956 by James H. Nicholson and Samuel Z. Arkoff in a reorganization of their American Releasing Corporation (ARC), soon became the leading U.S. studio devoted entirely to B-priced productions. American International helped keep the original-release double bill alive through paired packages of its films: these movies were low-budget, but the economic model was different from that of the traditional B movie—instead of a flat rate, they were rented out on a percentage basis, like A films.[15] I Was a Teenage Werewolf (1957) is perhaps the best known AIP film of the era. Guided by experienced genre writer-producer Herman Cohen, the movie starred a twenty-year-old Michael Landon. As its title suggests, AIP sought audiences not only with fantastic genre subjects, but also with new, teen-oriented angles. One exemplary film, Daddy-O (aka Out on Probation; 1958), sported the tagline "Alive!! With the Beat and the Heat of Today's Rock-N-Roll Generation!" If Hot Rod Gang (1958) worked, then why wouldn't hot rod horror? Result: Ghost of Dragstrip Hollow (1959). AIP is credited with having "led the way...in demographic exploitation, target marketing, and saturation booking, all of which would become standard procedure for the majors in planning and releasing their mass-market 'event' films" by the late 1970s.[16] At least in terms of content, the majors were already there, putting out low-budget "J.D." movies such as Warner Bros.' Untamed Youth (1957), starring Mamie Van Doren, and MGM's High School Confidential (1958), with Van Doren and Russ Tamblyn. In Bill Osgerby's description, these films "purported to preach against the 'evils' of juvenile crime, yet simultaneously provided young audiences with the vicarious thrills of delinquent rebellion", a gambit as old as St. Augustine, if not the Hollywood hills themselves.[17]
[edit] New trends in exhibition
In the late 1950s, William Castle was even better known as a B filmmaker than Corman. A long-time director and producer of mostly low-end movies for Columbia, including several entries in the studio's Whistler detective series, he left in 1957 to establish the independent Susina Productions with writer Robb White. Castle was the great innovator of the B-movie publicity gimmick. Audiences of Macabre (1958), an $86,000 production distributed by Allied Artists, were invited to take out insurance policies to cover potential death from fright. With this film and his next collaboration with White, An ad for The Tingler (1959), focusing on William Castle's Percepto gimmick. "GUARANTEED: 'The Tingler' will break loose in the theatre while you are in the audience. As you enter the theatre you will receive instructions how to guard yourself against attack by THE TINGLER!"
[edit] Mutating genres
11] The era's most provocative and unsettling fantasies were made for B-level cycle of movies, mostly low-budget and many long forgotten, classifiable as "atomic bomb cinema."The fear of nuclear war with the Soviet Union, along with less expressible qualms about the effects of radioactive fallout from America's own atomic tests, , The Thing from Another World and The Day the Earth Stood Still, are often mentioned as vanguard examples, but scholar Richard Hodgens argues that they are beasts of a different sort: energized many of the era's genre films. Science fiction, horror, and various hybrids of the two were now of central economic importance to the low-budget end of the business. Most down-market films of the type—like many of those produced by William Alland at Universal (e.g., Creature from the Black Lagoon [1954]) and Sam Katzman at Columbia (e.g., It Came from Beneath the Sea [1955])—provided little more than simple diversion.[10] But these were genres whose fantastic nature could also be used as cover for mordant cultural observations often difficult to make in mainstream movies. Two well-financed films of 1951 The Thing "proved that some money could be made by 'science fiction' that preyed on current fears symbolized crudely by any preposterous
[edit] AIP and Corman
When one of AIP's movies hit, the company was able to take advantage quickly. I Was a Teenage Werewolf premiered June 19, 1957. I Was a Teenage Frankenstein, also produced and cowritten by Herman Cohen, opened just five months later.
The Amazing Colossal Man was released by a new company whose name was much bigger than its budgets. American International Pictures (AIP), founded in 1956 by James H. Nicholson and Samuel Z. Arkoff in a reorganization of their American Releasing Corporation (ARC), soon became the leading U.S. studio devoted entirely to B-priced productions. American International helped keep the original-release double bill alive through paired packages of its films: these movies were low-budget, but the economic model was different from that of the traditional B movie—instead of a flat rate, they were rented out on a percentage basis, like A films.[15] I Was a Teenage Werewolf (1957) is perhaps the best known AIP film of the era. Guided by experienced genre writer-producer Herman Cohen, the movie starred a twenty-year-old Michael Landon. As its title suggests, AIP sought audiences not only with fantastic genre subjects, but also with new, teen-oriented angles. One exemplary film, Daddy-O (aka Out on Probation; 1958), sported the tagline "Alive!! With the Beat and the Heat of Today's Rock-N-Roll Generation!" If Hot Rod Gang (1958) worked, then why wouldn't hot rod horror? Result: Ghost of Dragstrip Hollow (1959). AIP is credited with having "led the way...in demographic exploitation, target marketing, and saturation booking, all of which would become standard procedure for the majors in planning and releasing their mass-market 'event' films" by the late 1970s.[16] At least in terms of content, the majors were already there, putting out low-budget "J.D." movies such as Warner Bros.' Untamed Youth (1957), starring Mamie Van Doren, and MGM's High School Confidential (1958), with Van Doren and Russ Tamblyn. In Bill Osgerby's description, these films "purported to preach against the 'evils' of juvenile crime, yet simultaneously provided young audiences with the vicarious thrills of delinquent rebellion", a gambit as old as St. Augustine, if not the Hollywood hills themselves.[17]
[edit] New trends in exhibition
In the late 1950s, William Castle was even better known as a B filmmaker than Corman. A long-time director and producer of mostly low-end movies for Columbia, including several entries in the studio's Whistler detective series, he left in 1957 to establish the independent Susina Productions with writer Robb White. Castle was the great innovator of the B-movie publicity gimmick. Audiences of Macabre (1958), an $86,000 production distributed by Allied Artists, were invited to take out insurance policies to cover potential death from fright. With this film and his next collaboration with White, An ad for The Tingler (1959), focusing on William Castle's Percepto gimmick. "GUARANTEED: 'The Tingler' will break loose in the theatre while you are in the audience. As you enter the theatre you will receive instructions how to guard yourself against attack by THE TINGLER!"
Hot Videos
Hot or HOT may refer to:
High temperature
Lust, which in a more sublime phrase could be called Physical attractiveness
Jargon used to describe radioactivity or more generally, it can refer to any area that threatens life
High-output turbo
Highly optimized tolerance, a general framework for studying complexity
Euromissile HOT, an anti-tank missile system developed by Euromissile
HOT-2, HOT-7, and HOT-17, a series of psychedelic phenethylamines
Street slang for stolen goods
A Cantonese food classification (heat)
In lottery:
Hot, an Israeli cable company
Hot Lotto, a multi-jurisdictional lottery jackpot game in the United States
Hot Lotto, a former Idaho Lottery game unrelated to the current Hot Lotto
Hot Spot, a keno-like game in the California Lottery
Hot, a 1996 album by the Squirrel Nut Zippers
Hot Five, a former D.C. Lottery game
In music:
H.O.T. (High-Five of Teenagers), a Korean pop group
Hawaii Opera Theatre, an opera theatre in Hawaii
Hot (band), a 1970s pop music group whose best-known song is "Angel In Your Arms"
"Hot", a song by Avril Lavigne from her 2007 album The Best Damn Thing
"Hot", a song by The Beatnuts from their 2004 album Milk Me
Hot FM, an Australian radio network.
Amphoe Hot, a district of Chiang Mai province, Thailand
High-occupancy toll, a toll enacted on single-occupant vehicles who wish to use lanes designated for the use of high-occupancy vehicles
High temperature
Lust, which in a more sublime phrase could be called Physical attractiveness
Jargon used to describe radioactivity or more generally, it can refer to any area that threatens life
High-output turbo
Highly optimized tolerance, a general framework for studying complexity
Euromissile HOT, an anti-tank missile system developed by Euromissile
HOT-2, HOT-7, and HOT-17, a series of psychedelic phenethylamines
Street slang for stolen goods
A Cantonese food classification (heat)
In lottery:
Hot, an Israeli cable company
Hot Lotto, a multi-jurisdictional lottery jackpot game in the United States
Hot Lotto, a former Idaho Lottery game unrelated to the current Hot Lotto
Hot Spot, a keno-like game in the California Lottery
Hot, a 1996 album by the Squirrel Nut Zippers
Hot Five, a former D.C. Lottery game
In music:
H.O.T. (High-Five of Teenagers), a Korean pop group
Hawaii Opera Theatre, an opera theatre in Hawaii
Hot (band), a 1970s pop music group whose best-known song is "Angel In Your Arms"
"Hot", a song by Avril Lavigne from her 2007 album The Best Damn Thing
"Hot", a song by The Beatnuts from their 2004 album Milk Me
Hot FM, an Australian radio network.
Amphoe Hot, a district of Chiang Mai province, Thailand
High-occupancy toll, a toll enacted on single-occupant vehicles who wish to use lanes designated for the use of high-occupancy vehicles
Funny Videos
Free Pictures from DrewpyDraws
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Free Pictures from DrewpyDraws
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America's Funniest Home Videos
From Wikipedia, the free encyclopedia
Jump to: navigation, search
America's Funniest Home Videos (often simply abbreviated to AFV, previously AFHV), is an American reality television program on ABC in which viewers are able to send in humorous homemade videotapes. The most common videos usually feature slapstick physical comedy arising from accidents and mishaps. Other popular videos include humorous situations involving pets or children, while some are staged practical jokes. The show is based on the Japanese show Fun TV with Kato-chan and Ken-chan (aired on Tokyo Broadcasting System).
It was announced on February 28th that AFV had been renewed for its 19th season
Synopsis
Produced by Vin Di Bona (with co-executive producers Todd Thicke and Michele Nasraway)[1], it is currently the second longest-running entertainment program on ABC. It is based on the Tokyo Broadcasting System show Fun TV with Kato-chan and Ken-chan, which featured a segment in which viewers were invited to send in video clips from their home movies. The format has since been reproduced around the world, and AFHV-inspired TV specials and series continue to emerge periodically in the United States.
Every week, three videos are chosen by the producers and voted on by the studio audience. The winner wins US$10,000, and is in the running for the $100,000 prize at the end of the season, while the runner-up receives $3,000, and third place banks $2,000. Very early in the show's run, the second and third prizes were a new TV and a new VCR, respectively. On the initial hour-long special, the grand prize was $5,000 with second and third places winning a new camcorder; the producer picked the winner, with no audience voting.
Starting with the third season, the show featured the "Assignment America" segment; which called for a series of videos to be made pertaining to a specific theme. Also, Saget's era produced a memorable segment called "Freeze Frame" which was a montage of videos with the song "Freeze Frame" played by the J. Geils Band. The show was so successful in its first year that in 1990 it spawned a spinoff entitled America's Funniest People.
History
The show debuted on November 26, 1989 (as an hour-long special[2] produced by Vin Di Bona and Steve Paskay, later a weekly half-hour primetime series since January 14, 1990) with actor/comedian Bob Saget as host and Ernie Anderson as announcer. (Once Anderson became too ill to continue, Gary Owens took over as announcer.) Saget co-hosted the special with actress Kellie Martin, then the star of Life Goes On, which would be the lead-in show to AFHV in its early seasons.
Johnny Carson "The Tonight Show's", host of this era, made both the show and Saget, both of whom he found guilty of bad taste, regular targets of his monlogues. The jokes generally centered on something like a new title for the show, such as "Fluffy Falls into the Food Processor" hosted by Bob 'Where's My Career' Saget.
Saget soon grew tired of the repetitive format and was anxious to pursue other projects as an actor and director.[citation needed] Producer Di Bona held him to his contract, resulting in a frustrated Saget listlessly going through the motions and making pointed remarks on the air during his last two seasons.[citation needed] His contract expired in 1997, and Saget left the show.
Daisy Fuentes and John Fugelsang (1998-2001)
Bob Saget left the show after eight seasons in 1997, but the show returned on January 9, 1998, with new hosts, model Daisy Fuentes and stand-up comedian John Fugelsang, as well as a completely new look. Their trademark was the "Bad-news, Good-news" segment in which they show a segment of videos (and something funny happens), and in the end, they say something good about it. The ratings for the show suffered during this period, and in 2001, they both left the show after three seasons.
Tom Bergeron (2001-present)
On May 28, 2001, the show returned again in its third format, this time with new host Tom Bergeron. Unlike Saget, who provided voiceovers to the clips, Bergeron humorously narrates them. In the 17th Season, Bergeron enters the studio in a sillouette version performing a shadow play before the sillouette screen goes up. The Bergeron version, however, added new segments, such as "Tom's Home Movies," where his face is digitally superimposed over the faces on the videos, and the "slo-mo gizmo", where a video is played first at normal speed, and then played at a slower speed and telestrated. This version also ran for 60 minutes per episode instead of 30 minutes per episode like the previous two versions.
From Wikipedia, the free encyclopedia
Jump to: navigation, search
America's Funniest Home Videos (often simply abbreviated to AFV, previously AFHV), is an American reality television program on ABC in which viewers are able to send in humorous homemade videotapes. The most common videos usually feature slapstick physical comedy arising from accidents and mishaps. Other popular videos include humorous situations involving pets or children, while some are staged practical jokes. The show is based on the Japanese show Fun TV with Kato-chan and Ken-chan (aired on Tokyo Broadcasting System).
It was announced on February 28th that AFV had been renewed for its 19th season
Synopsis
Produced by Vin Di Bona (with co-executive producers Todd Thicke and Michele Nasraway)[1], it is currently the second longest-running entertainment program on ABC. It is based on the Tokyo Broadcasting System show Fun TV with Kato-chan and Ken-chan, which featured a segment in which viewers were invited to send in video clips from their home movies. The format has since been reproduced around the world, and AFHV-inspired TV specials and series continue to emerge periodically in the United States.
Every week, three videos are chosen by the producers and voted on by the studio audience. The winner wins US$10,000, and is in the running for the $100,000 prize at the end of the season, while the runner-up receives $3,000, and third place banks $2,000. Very early in the show's run, the second and third prizes were a new TV and a new VCR, respectively. On the initial hour-long special, the grand prize was $5,000 with second and third places winning a new camcorder; the producer picked the winner, with no audience voting.
Starting with the third season, the show featured the "Assignment America" segment; which called for a series of videos to be made pertaining to a specific theme. Also, Saget's era produced a memorable segment called "Freeze Frame" which was a montage of videos with the song "Freeze Frame" played by the J. Geils Band. The show was so successful in its first year that in 1990 it spawned a spinoff entitled America's Funniest People.
History
The show debuted on November 26, 1989 (as an hour-long special[2] produced by Vin Di Bona and Steve Paskay, later a weekly half-hour primetime series since January 14, 1990) with actor/comedian Bob Saget as host and Ernie Anderson as announcer. (Once Anderson became too ill to continue, Gary Owens took over as announcer.) Saget co-hosted the special with actress Kellie Martin, then the star of Life Goes On, which would be the lead-in show to AFHV in its early seasons.
Johnny Carson "The Tonight Show's", host of this era, made both the show and Saget, both of whom he found guilty of bad taste, regular targets of his monlogues. The jokes generally centered on something like a new title for the show, such as "Fluffy Falls into the Food Processor" hosted by Bob 'Where's My Career' Saget.
Saget soon grew tired of the repetitive format and was anxious to pursue other projects as an actor and director.[citation needed] Producer Di Bona held him to his contract, resulting in a frustrated Saget listlessly going through the motions and making pointed remarks on the air during his last two seasons.[citation needed] His contract expired in 1997, and Saget left the show.
Daisy Fuentes and John Fugelsang (1998-2001)
Bob Saget left the show after eight seasons in 1997, but the show returned on January 9, 1998, with new hosts, model Daisy Fuentes and stand-up comedian John Fugelsang, as well as a completely new look. Their trademark was the "Bad-news, Good-news" segment in which they show a segment of videos (and something funny happens), and in the end, they say something good about it. The ratings for the show suffered during this period, and in 2001, they both left the show after three seasons.
Tom Bergeron (2001-present)
On May 28, 2001, the show returned again in its third format, this time with new host Tom Bergeron. Unlike Saget, who provided voiceovers to the clips, Bergeron humorously narrates them. In the 17th Season, Bergeron enters the studio in a sillouette version performing a shadow play before the sillouette screen goes up. The Bergeron version, however, added new segments, such as "Tom's Home Movies," where his face is digitally superimposed over the faces on the videos, and the "slo-mo gizmo", where a video is played first at normal speed, and then played at a slower speed and telestrated. This version also ran for 60 minutes per episode instead of 30 minutes per episode like the previous two versions.
Videos
Video is the technology of electronically capturing, recording, processing, storing, transmitting, and reconstructing a sequence of still images representing scenes in motion.
Video technology was first developed for cathode ray tube television systems, but several new technologies for video display devices have since been invented. General-purpose computing hardware can now be used to capture, store, edit, and transmit television and movie content, as opposed to older dedicated analog technologies.
The term video (from Latin: "I see") commonly refers to several storage formats for moving eye pictures: digital video formats, including DVD, QuickTime, and MPEG-4; and analog videotapes, including VHS and Betamax. Video can be recorded and transmitted in various physical media: in magnetic tape when recorded as PAL or NTSC electric signals by video cameras, or in MPEG-4 or DV digital media when recorded by digital cameras. Standards for television sets and computer monitors have tended to evolve independently, but advances in computer performance and digital television broadcasting and recording are producing some convergence. In progressive scan systems, each refresh period updates all of the scan lines. The result is a higher perceived resolution and a lack of various artifacts that can make parts of a stationary picture appear to be moving or flashing.
Quality of video essentially depends on the capturing method and storage used. Digital television (DTV) is a relatively recent format with higher quality than earlier television formats and has become a standard for television video. (See List of digital television deployments by country.)
3D-video, digital video in three dimensions, premiered at the end of 20th century. Six or eight cameras with realtime depth measurement are typically used to capture 3D-video streams. The format of 3D-video is fixed in MPEG-4 Part 16 Animation Framework eXtension (AFX).
In the UK, Australia, The Netherlands, Finland, Hungary and New Zealand, the term video is often used informally to refer to both Videocassette recorders and video cassettes; the meaning is normally clear from the context. Computers can now display television and film-style video clips and streaming media, encouraged by increased processor speed, storage capacity, and broadband access to the Internet. For films or movies, see Film. For other uses, see Video (disambiguation).
For the use of video in Wikipedia articles, see Wikipedia:Creation and usage of media files.
Number of frames per second
Frame rate, the number of still pictures per unit of time of video, ranges from six or eight frames per second (frame/s) for old mechanical cameras to 120 or more frames per second for new professional cameras. For example, PAL video format is often specified as 576i50, where 576 indicates the vertical line resolution, i indicates interlacing, and 50 indicates 50 fields (half-frames) per second The minimum frame rate to achieve the illusion of a moving image is about fifteen frames per second.
Interlacing
Video can be interlaced or progressive. Interlacing was invented as a way to achieve good visual quality within the limitations of a narrow bandwidth. The horizontal scan lines of each interlaced frame are numbered consecutively and partitioned into two fields: the odd field (upper field) consisting of the odd-numbered lines and the even field (lower field) consisting of the even-numbered lines. NTSC, PAL and SECAM are interlaced formats. Abbreviated video resolution specifications often include an i to indicate interlacing. PAL (Europe, Asia, Australia, etc.) and SECAM (France, Russia, parts of Africa etc.) standards specify 25 frame/s, while NTSC (USA, Canada, Japan, etc.) specifies 29.97 frame/s. A procedure known as deinterlacing can be used for converting an interlaced stream, such as analog, DVD, or satellite, to be processed by progressive scan devices, such as TFT TV-sets, projectors, and plasma panels. Deinterlacing cannot, however, produce a video quality that is equivalent to true progressive scan source material. Film is shot at the slower frame rate of 24frame/s, which complicates slightly the process of transferring a cinematic motion picture to video.
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