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  1. en.wikipedia.org › wiki › Dual_layer_recordingDVD - Wikipedia

    DVD-Video became the dominant form of home video distribution in Japan when it first went on sale on November 1, 1996, but it shared the market for home video distribution in the United States until June 15, 2003, when weekly DVD-Video in the United States rentals began outnumbering weekly VHS cassette rentals.

    • DVD-ROM and DVD-R(W) use one encoding, DVD-RAM and DVD+R(W) uses another
    • 300–650 nm laser, 10.5 Mbit/s (1×)
    • Optical disc
    • 650 nm laser with a focused beam using more power than for reading, 10.5 Mbit/s (1×)
  2. English: Video created from discrete photographs taken over a longer time period. Deutsch: Zeitraffer Filme Italiano: La fotografia time-lapse (fotografia ad intervallo di tempo) è una tecnica cinematografica nella quale la frequenza di cattura di ogni fotogramma è molto inferiore a quella di riproduzione.

  3. Apr 05, 2019 · A. s the 1920s turned into the 1930s, women’s fashion softly evolved from the boyish look of the previous decade into the feminine silhouette of the early thirties.. With the stock market crash in 1929 and with the opening of the new decade, hemlines descended back to ankle length and waistlines moved back to their natural place.

    • Resolution
    • Frame Rate
    • Recording Limits
    • Audio
    • Autofocus
    • Focus Peaking and Zebras
    • Settings Carry-Over
    • Image Stabilization
    • High Dynamic Range Capture
    • Log Capture

    The most quoted video specification you'll see for a camera is the output resolution, typically 1080p/Full HD, 4K or even 8K on the latest cameras. Most recent TVs can display 1080p/Full HD, and the ability to show 4K video, which has twice the resolution, is becoming increasingly common. Shooting 4K footage gives some flexibility during the editing process, even if your final output will be 1080, but the files tend to be a lot larger and require more storage and a more powerful machine for editing. The same is true to an even greater degree with 8K capture: it affords you some creative flexibility (in terms of cropping or stabilizing your footage) if you're outputting a 4K video, but the storage and processing requirements are even greater. Most people will find good quality 4K more useful than 8K footage, most of the time. An important consideration beyond the quoted output resolution is how the footage is captured: the best cameras capture greater-than-4K resolution and downscale...

    Most video is shot at approximately 24 frames per secondor 30 frames per second (with 25 fps being the standard for TV broadcast outside North America). But many cameras offer faster frame rates, which can be used in a number of ways. 60p footage can do a better job of representing motion, so can be a good way of capturing bursts of action. The alternative is to capture 60p or faster and then slow it down to 24 or 30p, to give a slow-motion effect. Most cameras can't offer fast frame rates at their highest resolution, but 1080 capture at 120 fps or faster is not uncommon, which can be great if your project doesn't have to be 4K.

    Another detail to check is whether a camera has any recording restrictions. Some models can only record for 29 minutes and 59 seconds (an old restriction that related to import duty), but most end up being limited simply because high-resolution video capture generates a lot of heat. The processing needed to capture video generates heat and most stills/video cameras aren't very effective at dissipating this heat, eventually requiring them to shut down to cool off. Pro video cameras have cooling fans but most stills/video hybrids simply try to transfer this heat to the camera's body panels, where it can escape into the environment. The best of these designs can continue shooting for extended periods, while other models let you disable their overheat limits (or, at least, make them less stringent). This is rarely a problem if you plan to shoot lots of short clips to edit together but will prevent you leaving the camera running at something like a school recital, especially if you try t...

    Once you've found a camera that shoots good footage at the resolution you want, a key thing to consider is audio. Most audiences are more forgiving of poor-looking footage than they are of bad-sounding video, and it's a factor easily overlooked if most of your experience is photographic. A microphone input socket is a must: the internal microphones in cameras tend to be simple affairs that will pick up ever movement of the operators hands or clothes moving nearby, so you'll want to be able to attach an external microphone. The next most valuable feature is a headphone socket so that you can check the volume level and monitor for distracting background sounds: the human brain is great at filtering-out the sound of a car passing or an airplane flying overhead but you won't be able to remove it from your audio recording, when you watch the footage back.

    One of the biggest distinctions in modern cameras is how reliably their autofocus works when capturing video. Unlike stills shooting, video captures all of the camera's attempts to focus, as well as the moments it's in focus, so you'll need a camera that's decisive and dependable if you're hoping to trust it to autofocus while you're recording. The best performers are able to reliably track subjects you've chosen (especially human subjects), and let you decide whether they should re-focus rapidly (to keep a moving subject in focus), or slowly and smoothly, for when you want to draw attention from one subject to another. Autofocus depends on both the camera and the design of the lens you use, so it's worth doing a degree of research (and, perhaps, testing), before you decide to rely heavily on autofocus.

    The alternative to autofocus is, as you might expect, to focus manually. This is the way a lot of professional video is still shot. Most modern cameras let you use autofocus to set your initial focus position, before you start recording, then provide a 'focus peaking' function that highlights the edges of the in-focus points in your scene. When used with an appropriate lens (ideally one with linear focus response, where the focus always changes by the same amount as you turn the focus ring) and a bit of practice, manual focus is pretty workable, but a lot of subjects can be arranged so that you don't need to re-focus very often. As well as focus peaking, most cameras let you 'punch-in' to the video: giving a magnified view of part of the scene to check critical focus. Whereas nearly all cameras will punch-in before you start recording, only some will let you zoom-in to double-check your focus while you're recording, which is a useful option to have. The other useful video tool worth...

    One detail that won't be mentioned on a camera makers' website is whether exposure and other settings are carried over from stills to video shooting. The ideal photo settings are often drastically different from the ideal video settings, so we prefer when exposure, white balance and focus modes are kept separate. Even with separate (or separable) settings for stills and video, it's not uncommon to have to add darkening (neutral density) filters to your lens when jumping from stills to video capture, but not having to constantly adjust your settings can help make switching back and forth a lot simpler.

    Stabilization is an essential part of video. At its most basic this can mean the use of a tripod with a head designed to move smoothly for video. Cameras with in-body stabilization can allow greater freedom of motion, letting you add some dynamism to your projects. Most image-stabilized cameras have modes designed to cancel out shake (letting you get steady shots without a tripod) and modes that smooth things out as you intentionally move the camera (these modes often crop-in to the footage to allow some digital stabilization). There’s some variation in terms of performance, with some cameras smoothly responding to intentional movement and others initially trying to fight against it. The final type of stabilization worth considering is a gimbal: an external device that that provides a greater degree of motion smoothing than a camera can give on its own. Gimbals are becoming more affordable and easier to use, and can give the production values of your project a major boost.

    Unhelpfully, the term 'High Dynamic Range' is used to refer to two things: modes that try to squeeze a wide range of bright and dark tones into standard footage, and modes that capture a wide range of bright and dark tones for playback on HDR TVs that can properly display them as bright and dark. This second approach can arguably have more of an impact on the viewer than the jump from Full HD resolution to 4K. The most common system for doing this is Hybrid Log Gamma (HLG), a system developed for broadcast TV, designed to show wider dynamic range on the latest TVs but still look good on older sets. The other option is called 'PQ,' which is a more sophisticated system, but doesn't necessarily offer a dramatic difference to HLG. Both systems are supported by YouTube, which will also generate a standard DR (SDR) version for viewers without HDR TVs. Most HDR standards require 10-bit capture(which has sufficient space to encode the additional color and tonal range that HDR footage needs).

    The other type of video that benefits from 10-bit capture is Log recording: a way of capturing and retaining more information about the original scene, to provide greater flexibility when you come to edit the footage. Log footage tends to look very low contrast and desaturated, to prevent color or tonal data clipping and becoming harder to edit. The downsides are that Log capture usually encourages lower exposure levels, which capture more highlight information but risk other parts of your footage looking noisier. The other disadvantage is that you'll definitely need to edit and color-grade your footage. This can be as simple as applying a color preset (called a LUT), but it's an extra step you'll have to go through. On the subject of LUTs, most cameras that shoot Log let you apply some kind of correction to their screen or viewfinder to let you preview what the processed footage might look like. so you're not looking at grey, washed-out footage.

    • richardb@dpreview.com
    • Technical Editor
  4. The Vizio D-Series is an entry-level smart TV with voice controls that works with Google Assistant, Amazon Alexa, and the Apple Ecosystem. Other features also include a full LED 1080p HD resolution display that can be controlled with the standard remote, or you can use any smartphone. The Vizio 32" D-Series TV has a height of 18.8" (47.9 cm), width of 28.8" (73.2 cm), depth of 7.9" (20.1 cm ...

  5. Dec 27, 2019 · Warm intervals are associated with higher solar activity, and cool periods, like the Little Ice Age, with minima. The LIA began closer to AD 1400 than 1600, suffering at least the Spörer, Maunder and Dalton Minima. The late 13th and early 14th century Wolf Minimum either marks the end of the Medieval WP or beginning of the LIA CP.

  6. Most are thankfully just 10 minutes long, but they also do quite a few hours-long commentary on full games. Video Games Awesome! has been recording and uploading full-length, unedited playthroughs of games since at least early 2011. That's only a few years, but each episode can last anywhere from three to five hours, and some games have more ...

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