Page orientation 1

Page orientation is the way in which a rectangular page is oriented for normal viewing. The two most common types of orientation are portrait and landscape. The specific word definition comes from the fact that a close-up portrait of a person's face and upper body is more fitting for a canvas or photo where the height of the display area is greater than the width, and is more common for the pages of books. Landscape originally described artistic outdoor scenes where a wide view area is needed, but the upper part of the painting would be mostly sky and so is omitted.

Page orientation is also used to describe the dimensions of a video display. The most common video display orientation is landscape mode, especially the 4:3 ratio, which is 4 units wide and 3 units tall, and the more recent 16:9 widescreen landscape display mode.

Portrait screen orientation does exist for computers, but until the introduction of Apple's iPad only popularly used in mobile devices. Portrait is preferred for editing page-layout work in order to view the entire page on the screen at once without wasted space along the sides.
 
History

Orientation of Computer Displays

Portrait mode was first used on the Xerox Alto computer, which was considered technologically well ahead of its time when the system was first developed. Xerox product marketers did not understand how revolutionary the system was, and the portrait display faded away while common landscape-display televisions were appropriated for use as an inexpensive early microcomputer display.

When the Macintosh computer was introduced, WYSIWYG page layout using Aldus PageMaker became popular. The Macintosh rekindled interest in portrait displays, and the first portrait displays for it were developed by Radius Corporation.

Wireless Home Digital Interface

Wireless Home Digital Interface (WHDI) is a consumer electronic standard for a wireless HDTV connectivity throughout the home. It is being driven by AMIMON, Hitachi Ltd., LG Electronics, Motorola, Samsung Group, Sharp Corporation and Sony.

WHDI enables uncompressed delivery of high-definition video over a wireless radio channel, allowing consumers to connect any source in the home to any display device.

Versions

The WHDI 1.0 standard specification was finalized in December 2009.Sharp Corporation will be one of the first companies to roll out wireless HDTVs.AT CES 2010 LG Electronics announced a WHDI wireless HDTV product line.

In June 2010, WHDI announced an update to WHDI 1.0 which allows support for stereoscopic 3D, and WHDI 2.0 specification to be completed in Q2 2011.

Technology

WHDI 1.0 provides a high-quality, uncompressed wireless link which supports data rates of up to 3Gbit/s (allowing 1080p) in a 40 MHz channel, and data rates of up to 1.5Gbit/s (allowing 1080i and 720p) in a single 20 MHz channel of the 5 GHz unlicensed band, conforming to FCC regulations and worldwide 5 GHz spectrum regulations. Range is beyond 100 feet (30 m), through walls, and latency is less than one millisecond.

WHDI 3D update due in Q4 2010 will allow support for 3D formats defined in HDMI 1.4a specification

WHDI 2.0 will increase available bandwidth even further, allowing additional 3D formats such as "dual 1080p60", and support for 4K x 2K resolutions.

Supporters

Promoters WHDI Official Site

    * AMIMON

    * Hitachi Ltd.

    * LG Electronics

    * Motorola

    * Samsung Group

    * Sharp Corporation

    * Sony

Contributors

    * Haier

    * Maxim

    * Mitsubishi Electric

    * Toshiba

Adopters

    * AmTRAN

    * Domo Technologies

    * Elmo

    * Gemtek

    * Gospell Smarthome Electronics

    * Hosiden

    * Murata Manufacturing

    * Quanta Microsystems, Inc. (QMI)

    * Rohde & Schwarz

    * Seamon Science International

    * TDK

    * Zinwell

Computer display standard 7

Display resolution prefixes

Although the common standard prefixes super and ultra do not indicate specific modifiers to base standard resolutions, several others do:

Quarter (Q or q)

    A quarter of the base resolution. E.g. QVGA, a term for a 320×240 resolution, half the width and height of VGA, hence the quarter total resolution. The "Q" prefix usually indicates "Quad" (4 times as many, not 1/4 times as many) in higher resolutions, and sometimes "q" is used instead of "Q" to specify quarter (by analogy with SI prefixes like k/K, m/M), but this usage is not consistent.

Wide (W)

    The base resolution increased by increasing the width and keeping the height constant, for square or near-square pixels on a widescreen display, usually with an aspect ratio of either 16:9 or 16:10.

Quad(ruple) (Q)

    Four times as many pixels compared to the base resolution, i.e. twice the horizontal and vertical resolution respectively.

Hex(adecatuple) (H)

    Sixteen times as many pixels compared to the base resolution, i.e. four times the horizontal and vertical resolutions respectively.

Ultra (U)

eXtended (X)

These prefixes are also often combined, as in WQXGA or WHUXGA.

Other resolutions

There are also some other 4:3 ratio resolutions such as 1400×1050 SXGA+ and unnamed ones like 1152×864 (sometimes referred to as XGA+).

Computer display standard 6

WQSXGA	Wide Quad Super Extended Graphics Array		3200×2048 (6554k)	25:16	32 bpp
QUXGA	Quad Ultra Extended Graphics Array		3200×2400 (7680k)	4:3	32 bpp
WQUXGA	Wide Quad Ultra Extended Graphics Array	The IBM T220/T221 LCD monitors supported this resolution, but they are no longer available.	3840×2400 (9216k)	16:10	32 bpp
4K	DLP Cinema Technology	Digital Film Projection	4096×1716 (7029k)	2.39	48 bpp (at 24 FPS)
HXGA	Hex[adecatuple] Extended Graphics Array		4096×3072 (12583k)	4:3	32 bpp
WHXGA	Wide Hex[adecatuple] Extended Graphics Array		5120×3200 (16384k)	16:10	32 bpp
HSXGA	Hex[adecatuple] Super Extended Graphics Array		5120×4096 (20972k)	5:4	32 bpp
WHSXGA	Wide Hex[adecatuple] Super Extended Graphics Array		6400×4096 (26214k)	25:16	32 bpp
HUXGA	Hex[adecatuple] Ultra Extended Graphics Array		6400×4800 (30720k)	4:3	32 bpp
Ultra High Definition Television	Ultra High Definition Television		7680×4320 (33177k)	16:9	32 bpp
WHUXGA	Wide Hex[adecatuple] Ultra Extended Graphics Array		7680×4800 (36864k)	16:10	32 bpp

Computer display standard 5

unnamed	unnamed	A common size for LCDs manufactured for small consumer electronics and mobile phones, typically in a 1.7" to 1.9" diagonal size. This LCD is often used in the portrait (128×160) orientation. The unusual 5:4 aspect ratio makes the display slightly different from the QQVGA dimensions.	160×128 (20k)	5:4
WXGA	Widescreen Extended Graphics Array	A version of the XGA format. This display aspect ratio is becoming popular in some recent notebook computers.	1280×720 (922k) 1280×800 (1024k) 1440×900 (1296k)	16:9 or 16:10	32 bpp
HD+	High Definition Plus (900p)	This display aspect ratio is becoming popular in recent notebook computers and desktop widescreens.	1600×900 (1440k)	16:9	32 bpp
SXGA	Super Extended Graphics Array	A widely used de facto 32 bit Truecolor standard, with an unusual aspect ratio of 5:4 (1.25:1) instead of the more common 4:3 (1.33:1), which means that 4:3 pictures and video will appear letterboxed on the narrower 5:4 screens. This is generally the physical aspect ratio & native resolution of standard 17" and 19" LCD monitors.Some manufacturers, noting that the de facto industry standard was VGA (Video Graphics Array), termed this the Extended Video Graphics Array or XVGA.	1280×1024 (1310k)	5:4	32 bpp
SXGA+	Super Extended Graphics Array PLUS	Used on 14 inch and 15 inch notebook LCD screens and a few smaller screens.	1400×1050 (1470k)	4:3	32 bpp
WXGA+,    or WXGA, (or WSXGA)	Widescreen Extended Graphics Array PLUS	A version of the WXGA format. This display aspect ratio is becoming popular in some recent notebook computers, and is the native resolution for many 19" widescreen LCD monitors.	1440×900 (1296k)	16:10	32 bpp

Computer display standard 4

unnamed	unnamed	A common size for LCDs manufactured for small consumer electronics and mobile phones, typically in a 1.7" to 1.9" diagonal size. This LCD is often used in the portrait (128×160) orientation. The unusual 5:4 aspect ratio makes the display slightly different from the QQVGA dimensions.	160×128 (20k)	5:4
WXGA	Widescreen Extended Graphics Array	A version of the XGA format. This display aspect ratio is becoming popular in some recent notebook computers.	1280×720 (922k) 1280×800 (1024k) 1440×900 (1296k)	16:9 or 16:10	32 bpp
HD+	High Definition Plus (900p)	This display aspect ratio is becoming popular in recent notebook computers and desktop widescreens.	1600×900 (1440k)	16:9	32 bpp
SXGA	Super Extended Graphics Array	A widely used de facto 32 bit Truecolor standard, with an unusual aspect ratio of 5:4 (1.25:1) instead of the more common 4:3 (1.33:1), which means that 4:3 pictures and video will appear letterboxed on the narrower 5:4 screens. This is generally the physical aspect ratio & native resolution of standard 17" and 19" LCD monitors. Some manufacturers, noting that the de facto industry standard was VGA (Video Graphics Array), termed this the Extended Video Graphics Array or XVGA.	1280×1024 (1310k)	5:4	32 bpp
SXGA+	Super Extended Graphics Array PLUS	Used on 14 inch and 15 inch notebook LCD screens and a few smaller screens.	1400×1050 (1470k)	4:3	32 bpp
WXGA+, or WXGA, (or WSXGA)	Widescreen Extended Graphics Array PLUS	A version of the WXGA format. This display aspect ratio is becoming popular in some recent notebook computers, and is the native resolution for many 19" widescreen LCD monitors.	1440×900 (1296k)	16:10	32 bpp
UXGA	Ultra Extended Graphics Array	A de facto Truecolor standard. This is the native resolution for many 20" LCD monitors.	1600×1200 (1920k)	4:3	32 bpp
WSXGA+	Widescreen Super Extended Graphics Array Plus	A version of the WXGA format. This is the native resolution for many 22" widescreen LCD monitors.	1680×1050 (1764k)	16:10	32 bpp

Computer display standard 3

Professional Graphics Controller		With on-board 2D and 3D acceleration introduced in 1984 for the 8-bit PC-bus, intended for CAD applications, a triple-board display adapter with built-in processor, and displaying video with a 60 Hz frame rate.	640×480 (307k)	4:3	8 bpp
MCGA	Multicolor Graphics Adapter	Introduced on selected PS/2 models in 1987, with reduced cost compared to VGA. MCGA had a 320×200 256 color (from a 262,144 color palette) mode, and a 640×480 mode only in monochrome due to 64k video memory, compared to the 256k memory of VGA.	320×200 (64k) 640×480 (307k)	16:10 4:3	8 bpp 1 bpp
8514		Precursor to XGA and released about the same time as VGA in 1987. 8514/A cards displayed interlaced video at 43.5 Hz.	1024×768 (786k)	4:3	8 bpp
VGA	Video Graphics Array	Introduced in 1987 by IBM. VGA is actually a set of different resolutions, but is most commonly used today to refer to 640×480 pixel displays with 16 colors (4 bits per pixel) and a 4:3 aspect ratio. Other display modes are also defined as VGA, such as 320×200 at 256 colors (8 bits per pixel) and a text mode with 720×400 pixels. VGA displays and adapters are generally capable of Mode X graphics, an undocumented mode to allow increased non-standard resolutions.	640×480 (307k) 640×350 (224k) 320×200 (64k) 720×400 (text)	4:3 64:35 16:10 9:5	4 bpp 4 bpp 4/8 bpp 4 bpp
SVGA	Super Video Graphics Array	A video display standard created by VESA for IBM PC compatible personal computers. Introduced in 1989.	800×600 (480k)	4:3	4 bpp
XGA	Extended Graphics Array	An IBM display standard introduced in 1990. XGA-2 added 1024×768 support for high color and higher refresh rates, improved performance, and support for 1360 (1365,333)×1024 in 16 colors (4 bits per pixel). (+support 1056×400 [14h] Text Mode).	1024×768 (786k) 640×480 (307k)	4:3 4:3	8 bpp 16 bpp
XGA+	Extended Graphics Array Plus	Although not an official name, this term is now used to refer to 1152×864, which is the largest 4:3 array yielding under one million pixels. Variants of this were used by Apple Computer (at 1152×870) and Sun Microsystems (at 1152×900) for 21-inch CRT displays.	1152×864 (995k) 640×480 (307k)	4:3 4:3	8 bpp 16 bpp
QVGA	Quarter Video Graphics Array		320×240 (75k)	4:3
WQVGA	Wide Quarter Video Graphics Array		480×272 (127.5k)	16:9
HQVGA	Half Quarter Video Graphics Array		240×160 (38k)	3:2
QQVGA	Quarter QVGA		160×120 (19k)	4:3

Computer display standard 2

Table of computer display standards

Video standard	Full name	Description	Display resolution (pixels)	Aspect ratio	Color depth (2^bpp colors)
unnamed	unnamed	Various Apple Inc., Atari, Commodore PCs introduced from 1977 to 1982. They used TVs for their displays and typically included a 32×40 wide border in the overscan region of the television, with a usable space of only 320×200 or 160×200 or 80×200 (approximately). They used the non-interlaced (NI) mode to provide a stable image. The non-interlaced designation was dropped after all monitors were manufactured this way.	352×240 NI (approximately)	4:3	8 or 16 colors typical.
unnamed	unnamed	Commodore Amiga,Atari ST and others. They used NTSC or PAL-compliant RGB component displays or televisions. The interlaced (I) mode produced visible flickering.	704×480 I (approximately)	4:3	16 for ST or 4096 for Amiga (~256,000 for Amiga 4000).
MDA	Monochrome Display Adapter	The original standard on IBM PCs and IBM PC XTs with 4 KB video RAM.Introduced in 1981 by IBM. Supports text mode only.	720×350 (text)	72:35	1 bpp
CGA	Color Graphics Adapter	Introduced in 1981 by IBM, as the first color display standard for the IBM PC. The standard CGA graphics cards were equipped with 16 KB video RAM.	640×200 (128k) 320×200 (64k) 160×200 (32k)	16:5 16:10 4:5	1 bpp 2 bpp 4 bpp
Hercules		A monochrome display capable of sharp text and graphics for its time of introduction. Very popular with the Lotus 1-2-3 spreadsheet, which was one of the PC's first killer apps. Introduced in 1982.	720×348 (250.5k)	60:29	1 bpp
EGA	Enhanced Graphics Adapter	Introduced in 1984 by IBM. A resolution of 640×350 pixels of 16 different colors (4 bits per pixel, or bpp), selectable from a 64-color palette (2 bits per each of red-green-blue).	640×350 (224k)	64:35	4 bpp
Professional Graphics Controller		With on-board 2D and 3D acceleration introduced in 1984 for the 8-bit PC-bus, intended for CAD applications, a triple-board display adapter with built-in processor, and displaying video with a 60 Hz frame rate.	640×480 (307k)	4:3	8 bpp

Computer display standard 1

Various computer display standards or display modes have been used in the history of the personal computer. They are often a combination of display resolution (specified as the width and height in pixels), color depth (measured in bits), and refresh rate (expressed in hertz). Associated with the screen resolution and refresh rate is a display adapter. Earlier display adapters were simple frame-buffers, but later display standards also specified a more extensive set of display functions and software controlled interface.

Until about 2003, most computer monitors had a 4:3 aspect ratio and some had 5:4. Between 2003 and 2006, monitors with 16:9 and 16:10 (8:5) aspect ratios have become commonly available, first in laptops and later also in standalone monitors. Productive uses for such monitors, i.e. besides widescreen movie viewing and computer game play, are the word processor display of two standard letter pages side by side,as well as CAD displays of large-size drawings and CAD application menus at the same time. Further, 16:10 allows viewing of 16:9 video on a computer with player controls visible, and 16:10 is also comes very close to a golden rectangle, which is often considered the most aesthetically pleasing aspect ratio.

Beyond display modes, the VESA industry organization has defined several standards related to power management and device identification, while ergonomics standards are set by the TCO.

Standards

A number of common resolutions have been used with computers descended from the original IBM PC. Some of these are now supported by other families of personal computers. These are de-facto standards, usually originated by one manufacturer and reverse-engineered by others, though the VESA group has co-ordinated the efforts of several leading video display adapter manufacturers. Video standards associated with IBM-PC-descended personal computers are shown in the diagram and table below.

Page Interchange Language

Publishing Interchange Language, or "PIL" is a public domain language that allows precise description of the layout of content on pages, groups of multiple pages or any 2-dimensional area, which it calls a "canvas." It was developed between June 1990 and June 1991 by the Professional Publishers Interchange Specification Workgroup, a committee of software and hardware vendors serving the newspaper, magazine and print advertising markets. The committee was led by Quark and Atex.

At the time, physical cut and paste of images and typeset text was still required to assemble many pages because the specialized composition, pagination, text formatting and graphic design systems that produced the content could not operate together to produce integrated output. PIL was designed to allow electronic integration of content and layout, so that one system could print complete pages or layouts with all the typeset text and composed images that came from heterogeneous subsystems. PIL describes the layout and allows the use of any combination of markup languages and image formats to encode the content. It enables any publishing workflow of either sequential or simultaneous layout and content creation. PIL was successfully used to integrate many publishing systems including systems from Agfa, Atex, Autologic, Information International, Inc., Quark, Inc. and Scitex.

Many languages and formats now exist to describe content for the World Wide Web, and to define documents by their logical structure, so the same content can be reformatted for multiple purposes. However, PIL exists to describe precisely a graphical design and the placement of all content within it. It is useful for those who want to define a specific visual presentation rather than the sort of fluid layout that a web browser allows. It does not directly provide any logical structure of elements such as headings, citations, captions and so on. It defines a (theoretically infinite) hierarchy of canvases with coordinate systems, tags, frames, and content of any type. These can be used as needed to draw any type of document.

The complete public domain distribution of PIL includes the language specification document (including a BNF specification, example files, a programmer's guide, and C-language source code for a parser and an output engine to produce PIL. The source code is highly portable to any platform that supports C, either in the ANSI C or earlier K&R forms.

WirelessHD

WirelessHD is an industry-led effort to define a specification for the next generation wireless digital network interface for wireless high-definition signal transmission for consumer electronics products. The consortium currently has over 40 adopters; key members behind the specification include Broadcom, Intel, LG, Panasonic, NEC, Samsung, SiBEAM, Sony, Philips and Toshiba. The founders intend the technology to be used for the CE devices, PCs, and portable devices alike. The specification was finalized in January 2008.

Technology

The WirelessHD specification is based on a 7 GHz channel in the 60 GHz Extremely High Frequency radio band. It allows for uncompressed digital transmission of high-definition video and audio and data signals, essentially making it equivalent of a wireless HDMI. First-generation implementation achieves data rates from 4 Gbit/s, but the core technology allows theoretical data rates as high as 25 Gbit/s (compared to 10.2 Gbit/s for HDMI 1.3 and 21.6 Gbit/s for DisplayPort 1.2), permitting WirelessHD to scale to higher resolutions, color depth, and range.

The 60 GHz band usually requires line of sight between transmitter and receiver, and the WirelessHD specification ameliorates this limitation through the use of beam forming at the receiver and transmitter antennas to increase the signal's effective radiated power. The goal range for the first products will be in-room, point-to-point, non line-of-sight (NLOS) at up to 10 meters. The atmospheric absorption of 60 GHz energy by oxygen molecules limits undesired propagation over long distances and helps control intersystem interference and long distance reception, which is a concern to video copyright owners.

The WirelessHD specification has provisions for content encryption via Digital Transmission Content Protection (DTCP) as well as provisions for network management. A standard remote control allows users to control the WirelessHD devices and choose which device will act as the source for the display.

Promoters

    * Broadcom Corporation

    * Intel Corporation

    * LG Electronics Inc.

    * Panasonic Corporation

    * Philips Electronics

    * NEC Corporation

    * Samsung Electronics, Co., Ltd

    * SiBEAM, Inc.

    * Sony Corporation

    * Toshiba Corporation

Competition

    * Wireless Gigabit Alliance (WiGig) promotes a different specification for multi-gigabit wireless communications operating over the same unlicensed 60 GHz spectrum.

    * Wireless Home Digital Interface (WHDI) specification uses 20 or 40 MHz channels the 5 GHz unlicensed band, offering lossless video and achieving equivalent video data rates of up to 1.5 or 3 Gbit/s.

Slow motion 3

A VCR may have the option of slow motion playback, sometimes at various speeds; this can be applied to any normally recorded scene. It is similar to half-speed, and is not true slow-motion, but merely longer display of each frame.

In action films

Slow motion is used widely in action films for dramatic effect, as well as the famous bullet-dodging effect, popularized by The Matrix.

Formally, this effect is referred to as speed ramping and is a process whereby the capture frame rate of the camera changes over time. For example, if in the course of 10 seconds of capture, the capture frame rate is adjusted from 60 frames per second to 24 frames per second, when played back at the standard film rate of 24 frames per second, a unique time-manipulation effect is achieved. For example, someone pushing a door open and walking out into the street would appear to start off in slow-motion, but in a few seconds later within the same shot the person would appear to walk in "realtime" (normal speed). The opposite speed-ramping is done in The Matrix when Neo re-enters the Matrix for the first time to see the Oracle. As he comes out of the warehouse "load-point", the camera zooms into Neo at normal speed but as it gets closer to Neo's face, time seems to slow down, perhaps visually accentuating Neo pausing and reflecting a moment, and perhaps alluding to future manipulation of time itself within the Matrix later on in the movie.

In Broadcasting

Slow-motion is widely used in sport broadcasting and its origins in this domain extend right back to the earliest days of television, one example being the European Heavyweight Title in 1939 where Max Schmeling knocked out Adolf Heuser in 71 seconds.

In instant replays, slow motion reviews are now commonly used to show in detail some action (photo finish, Football (soccer) goal, ...). Generally, they are made with video servers and special controllers. The first TV slo-mo was the Ampex HS-100 disk record-player.

Slow motion 2

How slow motion works

There are two ways in which slow motion can be achieved in modern cinematography. Both involve a camera and a projector. A projector refers to a classical film projector in a movie theatre, but the same basic rules apply to a television screen and any other device that displays consecutive images at a constant frame rate.

Overcranking

For the purposes of making the above illustration readable a projection speed of 10 frames per second (frame/s) has been selected, in fact film is usually projected at 24 frame/s making the equivalent slow over cranking is rare, but available on professional equipment.

Time stretching

The second type of slow motion is achieved during post production. This is known as time-stretching or digital slow motion. This type of slow motion is achieved by inserting new frames in between frames that have actually been photographed. The effect is similar to overcranking as the actual motion occurs over a longer time.

Since the necessary frames were never photographed, new frames must be fabricated. Sometimes the new frames are simply repeats of the preceding frames but more often they are created by interpolating between frames. (Often this interpolation is effectively a short dissolve between still frames). Many complicated algorithms exist that can track motion between frames and generate intermediate frames that appear natural and smooth. However it is understood that these methods can never achieve the clarity or smoothness of its overcranking counterpart.

Simple replication of the same frame twice is also sometimes called half-speed. This relatively primitive technique (as opposed to digital interpolation) is often visually detectable by the casual viewer. It was used in certain scenes in Tarzan, the Ape Man, and critics pointed it out. Sometimes lighting limitations or editorial decisions can require it. A wide-angle shot of Roy Hobbs swinging the bat, in the climactic moments of The Natural, was printed at half-speed in order to simulate slow-motion, and the closeup that immediately followed it was true overcranked slow-motion.

Slow motion 1

Typically this style is achieved when each film frame is captured at a rate much faster than it will be played back. When replayed at normal speed, time appears to be moving more slowly. The technical term for slow motion is overcranking which refers to the concept of cranking a handcranked camera at a faster rate than normal (i.e. faster than 24 frames per second). Slow motion can also be achieved by playing normally recorded footage at a slower speed. This technique is more often applied to video subjected to instant replay, than to film. High-speed photography is a more sophisticated technique that uses specialized equipment to record fast phenomena, usually for scientific applications.

Slow motion is ubiquitous in modern filmmaking. It is used by a diverse range of directors directors to achieve diverse effects. Some classic subjects of slow motion include:

    * Athletic activities of all kinds, to demonstrate skill and style.

    * To recapture a key moment in an athletic game, typically shown as a replay.

    * Natural phenomena, such as a drop of water hitting a glass.

Slow motion can also be used for artistic effect, to create a romantic or suspenseful aura or to stress a moment in time. Vsevolod Pudovkin, for instance, used slow motion in a suicide scene in The Deserter, in which a man jumping into a river seems sucked down by the slowly splashing waves. Another example is Face/Off, in which John Woo used the same technique in the movements of a flock of flying pigeons. The Matrix made a distinct success in applying the effect into action scenes through the use of multiple cameras, as well as mixing slow-motion with live action in other scenes. Japanese director Akira Kurosawa was a pioneer using this technique in his 1954 movie Seven Samurai. American director Sam Peckinpah was another classic lover of the use of slow motion. The technique is especially associated with explosion effect shots and underwater footage.

The opposite of slow motion is fast motion. Cinematographers refer to fast motion as undercranking since it was originally achieved by cranking a handcranked camera slower than normal. It is often used for comic effect, time lapse or occasional stylistic effect.

The concept of slow motion may have existed before the invention of the motion picture: the Japanese theatrical form Noh employs very slow movements.

Go motion 2

Bumping the puppet

Gently bumping or flicking the puppet before taking the frame will produce a slight blur, however care must be taken when doing this that the puppet does not move too much or that one does not bump or move props or set pieces.

Moving the table

Moving the table the model is standing on while the film is being exposed creates a slight, realistic blur. This technique was used by Aardman animation for the train chase in The Wrong Trousers and again during the lorry chase in A Close Shave. In both cases the cameras were moved physically during a 1-2 second exposure. The technique was revived for the full-length Wallace and Gromit: The Curse of the Were-Rabbit.

Go motion

The most sophisticated technique was originally developed for the film The Empire Strikes Back and used for some shots of the tauntauns; a more advanced and was later used on films like Dragonslayer and is quite different from traditional stop motion. The model is essentially a rod puppet. The rods are attached to motors which are linked to a computer that can record the movements as the model is traditionally animated. When enough movements have been made, the model is reset to its original position, the camera rolls and the model is moved across the table. Because the model is moving during shots, motion blur is created.

A variation of go motion was used in E.T. the Extra-Terrestrial to partially animate the children on their bicycles.

Go motion today

Go motion was originally planned to be used extensively for the dinosaurs in Jurassic Park, until Steven Spielberg decided to try out the swiftly developing techniques of computer-generated imagery instead.

Today, the mechanical method of achieving motion blur using go motion is rarely used, as it is more complicated, slow, and labor intensive than computer generated effects. However, the motion blurring technique still has potential in real stop motion movies where the puppet's motions are supposed to be somewhat realistic. Motion blurring can now be digitally done as a post production process using special effects software such as After Effects, Boris FX, Combustion, and other similar special effects commercial software.

Go motion 1

Go motion is a variation of stop motion animation,and was co-developed by Industrial Light & Magic and Phil Tippett. It was used for some shots of the tauntaun creatures in the 1980 Star Wars film The Empire Strikes Back,he dragon in Dragonslayer (1981),he lord demon creature in Howard the Duck (1986), the winged satan character in The Golden Child (1986), and the Eborsisk dragon in Willow (1988).

 Technical explanation

Stop motion animation can create a disorienting, and distinctive, staccato effect, because the animated object is perfectly sharp in every frame, since each frame of the animation was actually shot when the object was perfectly still. Real moving objects in similar scenes of the same movie will have motion blur, because they moved while the shutter of the camera was open.

Go motion was designed to prevent this, by moving the animated model slightly during the exposure of each film frame, producing a realistic motion blur. The main difference is that while the frames in stop motion are made up by images of stills taken between the small movements of the object, the frames in go motion are images of the object taken while it is moving. This frame-by-frame, split-second motion is almost always created with the help of a computer, often through rods connected to a puppet or model which the computer manipulates to reproduce movements programmed in by puppeteers.

Vaseline

This crude but reasonably effective technique involves smearing petroleum jelly on the camera lens, then cleaning and reapplying it after each shot, a time-consuming process but one which creates a blur around the model. This technique was used for the endoskeleton in The Terminator.

Anamorphic widescreen 3

Television

Major digital television channels in Europe (for example, the five major UK terrestrial TV channels of BBC One, BBC Two, ITV, Channel 4 and Channel Five), as well as Australia, carry anamorphic widescreen programming in standard definition. In almost all cases, 4:3 programming is also transmitted on the same channel. The SCART switching signal can be used by a set-top-box to signal the television which kind of programming (4:3 or anamorphic) is currently being received, so that the television can change modes appropriately. The user can often elect to display widescreen programming in a 4:3 letterbox format instead of pan and scan if they do not have a widescreen television.

TV stations and TV networks can also include Active Format Description (AFD) just as DVDs can. Many ATSC tuners (integrated or set-top box) can be set to respond to this, or to apply a user setting. This can sometimes be set on a per-channel basis, and often on a per-input basis, and usually easily with a button on the remote control. Unfortunately, tuners often fail to allow this on SDTV (480i-mode) channels, so that viewers are forced to view a small picture instead of cropping the unnecessary sides (which are outside of the safe area anyhow), or zooming to eliminate the windowboxing that may be causing a very tiny picture, or stretching/compressing to eliminate other format-conversion errors. The shrunken pictures are especially troublesome for smaller TV sets

Many modern HDTV sets have the capability to detect black areas in any video signal, and to smoothly re-scale the picture independently in both directions (horizontal and vertical) so that it fills the screen. However, some sets are 16:10 (1.6:1) like a computer monitor, and will not crop the left and right edges of the picture, meaning that all programming looks slightly (though usually imperceptibly) tall and thin.

ATSC allows two anamorphic widescreen SDTV formats (interlaced and progressive scan) which are 704×480 (10% wider than 640×480); this is narrower than the 720×480 of DVD due to 16 pixels being consumed by overscan (nominal analogue blanking) – see overscan: analog to digital resolution issues. The format can also be used for fullscreen programming, and in this case it is anamorphic with pixels slightly taller (10:11, or 0.91:1) than their width.

Anamorphic widescreen 2

Blu-ray video

Unlike DVD, Blu-ray supports resolutions with Source Aspect Ratio (SAR) of 16:9, so widescreen video can be displayed non-anamorphically, with square pixels (a Pixel Aspect Ratio (PAR) of 1:1). Blu-ray also supports anamorphic wide-screen, both at the DVD-Video/D-1 resolutions of 720×480 (NTSC) and 720×576 (PAL), and at the higher resolution of 1440×1080 (SAR of 4:3, hence a PAR of 4:3 = 16:9 / 4:3 when used as anamorphic 16:9). See Blu-ray Disc: Technical specifications for details.

Film

Many commercial cinematic presentations (especially epics – usually with the CinemaScope 2.35:1 optical sound or the older 4-track mag sound 2.55:1 aspect ratio) are recorded on standard 35 mm ~4:3 aspect ratio film[1], using an anamorphic lens to horizontally compress all footage into a ~4:3 frame. Another anamorphic lens on the movie theatre projector ultimately corrects (optically decompresses) the picture. See anamorphic format for details. Other movies (often with aspect ratios of 1.85:1 in the USA or 1.66:1 in Europe) are made using the simpler matte technique, which involves both filming and projecting without any expensive special lenses. The movie is produced in 1.375 format, and then the resulting image is simply cropped in post-production (or perhaps in the theater's projector) to fit the desired aspect ratio of 1.85:1 or 1.66:1 or whatever is desired. Besides costing less, the main advantage of the matte technique is that it leaves the studio with "real" footage (the areas that are cropped for the theatrical release) which can be used in preference to pan-and-scan when producing 4:3 DVD releases, for example.

The anamorphic encoding on DVD is related to the anamorphic filming technique (aka Cinemascope) only by name. For instance, Star Wars (1977) was filmed in 2.35:1 ratio using an anamorphic camera lens, and shown in theaters using the corresponding projector lens. Since it is a widescreen film, when encoded on a widescreen-format DVD the studio would almost certainly use the anamorphic encoding process. Monty Python and the Holy Grail was filmed in 1.85:1 ratio without using an anamorphic lens on the camera, and similarly was shown in theaters without the need for the decompression lens. However, since it is also a widescreen film, when encoded on a widescreen-format DVD the studio would probably use the anamorphic encoding process.

It doesn't matter whether the filming was done using the anamorphic lens technique: as long as the source footage is intended to be widescreen, the digital anamorphic encoding procedure is appropriate for the DVD release. As a sidenote, if a purely-non-widescreen version of the analog-anamorphic Star Wars were to be released on DVD, the only options would be pan-and-scan or hardcoded 4:3 letterboxing (with the black letterboxes actually encoded as part of the DVD data). If you were to release a purely-non-widescreen version of Monty Python, you would have those options, as well as the additional option of an "open-matte" release, where the film footage that was never visible in theaters (due to use of the matte technique in post-production or in the theatrical projectors) is "restored" to the purely non-widescreen DVD release.

Anamorphic widescreen 1

Anamorphic widescreen is a videographic process that horizontally squeezes a widescreen image so that it can be stored in a standard 4:3 aspect ratio DVD image frame. Compatible playback equipment can then re-expand the horizontal dimension to show the original widescreen image. In its current definition as a video term, it was originally devised for widescreen 16:9 aspect ratio television sets.

DVD Video

A DVD labeled as "Widescreen Anamorphic" contains video that has the same frame size in pixels as traditional fullscreen video, but uses wider pixels. The shape of the pixels is called pixel aspect ratio and is encoded in the video stream for a DVD disc player to correctly identify the proportions of the video. If an anamorphic DVD video is played on standard 4:3 television without adjustment, the image may look horizontally squeezed.

Packaging

DVDs with a 16:9 aspect ratio are typically labeled "Anamorphic Widescreen", "Enhanced for 16:9 televisions", "Enhanced for widescreen televisions", or similar, although currently there is no labeling standard. Otherwise, the movie will only support the standard full-frame display and will simply be letterboxed, or panned and scanned for 4:3 screens.

There has been no clear standardization for companies to follow regarding the advertisement of anamorphically enhanced widescreen DVDs. Some companies, such as Universal and Disney, include the aspect ratio of the movie. Below are how various companies advertise their anamorphic DVD movies on their packaging:

    * Anchor Bay: Enhanced for 16:9 TVs, includes aspect ratio in most cases.

    * Artisan Entertainment: 16:9 Fullscreen Version, or Enhanced for 16:9 Television (since it became part of Lions Gate, the newer reissues include aspect-ratio information on many titles). Note that this is a misuse of the term "fullscreen", which refers to a normal 4:3 ratio.

    * Buena Vista: Enhanced for 16:9 Televisions, includes aspect ratio.

    * Columbia TriStar: Anamorphic Video, sometimes not labeled, includes aspect ratio.

    * Criterion: Enhanced for Widescreen Televisions, or 16:9, always includes aspect ratio.

    * DreamWorks: Widescreen format, enhanced for 16:9 televisions since acquisition by Paramount; aspect ratio included on formerly Universal-distributed titles.

    * Image Entertainment: Enhanced for 16:9 TVs, some titles include aspect ratio.

    * MGM: Enhanced for 16:9 TVs or Enhanced for Widescreen TVs, includes aspect ratio on 2001–present titles; uses Fox’s format since 2004.

    * New Line Cinema: Enhanced for Widescreen TVs.

    * Paramount Pictures: Enhanced for 16:9.

    * Trimark Pictures: Widescreen (letterboxed means non-anamorphic) Since it became part of Lions Gate, the newer reissues include aspect-ratio information on many titles.

    * 20th Century Fox: Enhanced for Widescreen TVs, Anamorphic Widescreen, sometimes not labeled, includes aspect ratio on newer titles.

    * Universal: Anamorphic Widescreen (widescreen means non-anamorphic) (Gives aspect ratio of film).

    * Warner Bros.: Enhanced for Widescreen TVs, says scope for 2.35 or matted for 1.85 instead of giving aspect ratio.

Widescreen 7

* Older laptop computers with a pointing device that did not take up space such as a pointing stick (Trackpoint) or trackball attached to the side of the machine could accommodate a keyboard which matched a 16:9 screen well. The use of touchpads, which require a lot of space below the keyboard, and the removal of keys such as the Numeric keypad more accurately matches the 4:3 ratio of a screen found on smaller netbooks and laptops.

Conversion

For word processing and office type applications, vertical measurement can be more important than diagonal measurement when determining size requirements. When monitors are sold the quoted size is the diagonal measurement of the display area. Because of the different ratio, a 16:10 monitor will have a smaller vertical size than a 4:3 monitor of the same advertised size. To find the diagonal measurement of widescreen monitor that would have the same vertical measurement as a known 4:3 monitor, you must multiply the diagonal measurement of the 4:3 monitor by 1.132. Via a similar calculation, to convert between the diagonal measurement of a 5:4 monitor to the diagonal measurement of a 16:9 monitor having the same vertical measurement, one would multiply by 1.274.

For example to have the same vertical height as a 4:3 19" monitor, a 16:10 widescreen monitor would need to be (19" x 1.132 ) = 21.508". Furthermore, to have the same vertical height as a 5:4 17" monitor, a 16:9 widescreen monitor would need to be (17" x 1.274) = 21.658".

Widescreen 6

Suitability for applications

    * Since many modern DVDs and some TV shows are in a widescreen format, widescreen displays are optimal for their playback on a computer. 16:9 material on a 16:10 display will be letterboxed, but only slightly. However, when screen width is not an issue, as in data processing or viewing 4:3 entertainment material such as older films and digital photographs, the sides of the widescreen image may be wasted, although it can be useful to display two or more windows side-by-side.

However, for data processing (including word processing) many computer programs often have many toolbars and other information such as status bars, headers, and tabs, which require vertical space. In such cases the additional width is unwanted; on a computer used only for data-processing the additional screen area is better dedicated to a larger 4:3 screen.

  

  * When displaying a document or ebook, two pages can be displayed side by side on a wide screen, or two documents compared. If a desktop monitor supports it, a whole single page of a book or document can be displayed on a rotated "portrait"-oriented screen, with two snags: printed pages are most commonly displayed in 16:11 aspect ratio on readers such as Kindle-DX, the aspect ratio, in fact closer to 4:3 than to 16:9, and second TN panels have notoriously poor vertical viewing angles.

  

  * A very few computer games, including the first few Command & Conquer games, run at a native 640x400 resolution, making them exceptionally well-suited to 8:5 monitors. A slightly larger number, including Doom 3, can be set to either widescreen or fullscreen (4:3), with the widescreen options offering wider horizontal fields of view without sacrificing vertical FOV. However, most computer games are not designed for optimum effect on a widescreen display, being stretched unnaturally, not filling the screen, or letterboxed.

Widescreen 5

Despite the existence of PALplus and support for widescreen in the DVB-based digital satellite, terrestrial and cable broadcasts in use across Europe, only Belgium, Ireland, the Netherlands, Austria, Germany, Scandinavia and the UK have adopted widescreen on a large scale, with over half of all widescreen channels available by satellite in Europe targeting those areas.

16:9 TV displays have come into wide use. They are typically used in conjunction with Digital, High-Definition Television (HDTV) receivers, or Standard-Definition (SD) DVD players and other digital television sources. Digital material is provided to widescreen TVs either in high-definition format, which is natively 16:9 (1.78:1), or as an anamorphically-compressed standard-definition picture. Typically, devices decoding Digital Standard-Definition pictures can be programmed to provide anamorphic widescreen formatting, for 16:9 sets, and formatting for 4:3 sets. Pan-and-scan mode can be used on 4:3 if the producers of the material have included the necessary panning data; if this data is absent, letterboxing or centre cut-out is used.

HD DVD and Blu-ray disc players were introduced in 2006. Toshiba ceased production of HD DVD players in early 2008 after key defections from the HD DVD camp damaged the viability of the format. As of 2010 it still remains to be seen whether Blu-ray will stimulate the sales of HD pre-recorded films on disc, and more HD monitors and tuners. Consumer camcorders are also available in the HD-video format at fairly low prices. These developments will result in more options for viewing widescreen images on television monitors.

Computer displays

Computer displays with aspect ratios wider than 4:3 are also called widescreen. Widescreen computer displays are mainly intended for computers used, at least sometimes, to display entertainment; data processing tends to use 4:3. Widescreen computer displays are typically of the 1.6 (8:5, typically written as 16:10) aspect ratio. "True" widescreen (16:9) monitors can be found in resolutions of 1024x576, 1152x648, 1280x720, 1600x900, and 1920x1080. Apple's 27" iMac introduced a new 16:9 resolution: 2560x1440 in late 2009.

By 2010, many manufacturers had practically abandoned the older 4:3 format, instead opting to manufacture 16:10 models, and lately, even shorter 16:9 displays.