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Which clippings match 'FPS' keyword pg.1 of 1
23 MAY 2013

The 5D mark III can do 25fps in RAW 1080p

"It's a revolutionary time for indie filmmakers: A RAW module for Magic Lantern was enabled last Sunday that hacks your Canon EOS 5D mark III to shoot 14bit RAW video in 24p and we just found out it also works in 25p."

(Sebastian Wöber, 17th May 2013, cinema5D)

The top video was recorded with the standard H.264 ALL–I CODEC, while the bottom was recorded as raw footage.

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TAGS

1080p • 14bit RAW video • 24p25 fps • 25p • bracketing • camera exposure • Canon DSLRCanon EOS 5D mark III • Canon firmware • CF card • colour saturation • compact flash • digital cinematographydigital filmmaking • Fast Zebras • film exposureFPS • FPS control • HDR • HDR bracketing • high definition video • highlight rolloff • image captureimage contrastimage qualityindie filmmakerISO • ISO control • Magic Lantern (software)RAWvideo image

CONTRIBUTOR

Simon Perkins
10 APRIL 2011

Wolfenstein 3D: Pac-Man intragame

"An intragame is a game within the game, e.g. the Pachinko machine in Duke Nukem 3D [or a Pac–Man level in Wolfenstein 3D]. Since computer games are based on simulator technology that could mix or include any other game in addition to the main game, the main game will be the only one classified."

(Aarseth, Smedstad and Sunnanå, 2003, p.49)

1). Video capture of secret Pac–Man level within Episode 3 of Wolfenstein 3D.

2). Table of Contents for Level Up: Digital Games Research Conference Proceedings, DiGRA and Utrecht University

3). Espen Aarseth, Solveig Marie Smedstad and Lise Sunnanå (2003). 'A multi–dimensional typology of games', in Copier, Marinka; Raessens, Joost, Level Up: Digital Games Research Conference Proceedings, DiGRA and Utrecht University

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TAGS

19923Daction hero • Adrian Carmack • Apogee SoftwareCastle Wolfensteincomputer gamesdigital cultureDiGRADuke Nukem 3Deaster eggEspen Aarsethfirst-person point of viewfirst-person shooterFPS • game genres • game within the game • gameplaygames • id Software • intragame • Lise Sunnana • mise-en-abymeNaziPac-Man • Pachinko • PC gamesreflexivityrun and gunScott Miller • shareware • Solveig Marie Smedstad • tribute • typology of games • video gamevirtual environmentsWolfenstein 3D

CONTRIBUTOR

Simon Perkins
22 FEBRUARY 2011

Antlion Soccer: first-person gaming platforms for experimental narrative projects

"In early 2007, we were awarded a speculative research grant to investigate the use of first–person gaming platforms for experimental narrative projects. A small development studio has been established and has produced a completed single–user experience, based upon the Source engine. A second experimental single–player experience is at beta stage, and a third is planned. The completed mod embeds extensive, randomised narrative fragments in audio triggers throughout a bespoke environment. supplemented by abstract visual and audio media assets. [...] The second mod subverts traditional squad–based play by using custom fixed–state AI expansion of existing Half Life 2 agents to create an experience where the player becomaes leader of a helpless squad with discernible individual characteristics in a hostile environment. Although it is not envisaged that this will be completed at the time of presentation, a proof–of–concept demo will be on display. Finally, footage and information of an additional, multiplayer game developed to test mod concepts and already in the public domain will be displayed"

(Videogame Visionary)

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TAGS

2007AHRC • Antlion Soccer • applied researchconceptualisation • Dan Pinchbeck • demoDiGRAdiscoveryenquiryexperience • experimental narrative • experimentationfirst-personfootballFPSgame designgamesgames research • gaming platforms • Half-Life (video game) • mod • multiplayer game • narrativeposter presentationresearchsingle-player • single-user experience • speculative researchtheory building • vgvisionary • Videogame Visionary • virtual environments

CONTRIBUTOR

Simon Perkins
19 JANUARY 2011

Encode HD video for Vimeo or YouTube using Adobe Media Encoder

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1080i • 1280×720 • 1280x720p • 1440x1080i • 16:9 • 1920x1080i • 25 fps • 29.97 fps • 30 fps • 480 lines • 480i • 50 frames per second • 50 Hz • 576 lines • 576i • 60 Hz • 720 • 720 horizontal scan lines • 720 interlaced lines • 720 pixels of vertical resolution • 720p • 720p HDTV • Adobe Media Encoder • Adobe Media Encoder CS4 • Adobe PremiereAfter Effects • ATSC • AVC • bitrate • bitrate encoding • broadcast standard • CODECcompressionCS4 • display resolution • DVB • encoderencoding • field order • formatFPS • frame rate • frames per second • Full HD • H.264HDHDTVhigh definition videohigh-definition • interlaced • interlaced video • Media Encoder CS4 • media technology • non-interlaced • NTSC • Pal • pixel aspect ratio • progressive scan • progressive scanning • square pixels • standard definition • target bitrate • tutorialvideovideo encoding • video frame • video resolution • VimeoYouTube

CONTRIBUTOR

Simon Perkins
08 DECEMBER 2009

Gamers and Gorehounds: The Influence of Video Games on the Contemporary Horror Film

"In translating a digital game to the big screen, these titles rely on the integration of aesthetics and narrative from their game counterparts to further enhance the viewing experience. The utilization of game narrative in the horror adaptation film is partially based on the acceptance of the video game medium as a cyberdrama, which emphasizes 'the enactment of the story in the particular fictional space of the computer.'[54] Many popular titles were not only about motor coordination and skill, but about becoming immersed in good storytelling. Author Janet Murray states, 'A story has greater emphasis on plot; a game has greater emphasis on the actions of the player. But where the player is also the protagonist or the god of the story world, then player action and plot event begin to merge.'[55] Murray describes the player's attachment to the game narrative as dramatic agency, which 'requires that we script the interactor as well as the world, so that we know how to engage the world, and so that we build up the appropriate expectations.'[56] "

(Timothy D. Alley, p.47, 2007)

54. Janet Murray, "From Game–Story to Cyberdrama." First Person. Eds. Noah Wardrip– Fruin and Pat Harrigan (Cambridge, MA: The MIT P, 2004) 4.

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TAGS

aesthetics • Brainscan • consoleconvergenceculture • cyberdrama • David Cronenbergdigital culture • Doom • Duke Nukem 3Ddystopia • eXistenZ (1999) • first-person point of viewfirst-person shooterFPS • Freddys Dead • gamesGrand Theft Autohorrorhorror filmJanet Murray • Lawnmower Man • mediumQuakeremediationrepresentationtechnologytechnophobiaThe Matrix (1999)The Wizard of Ozvideo gamevirtual realityvisual communicationvisual designvisual languageWolfenstein 3Dzombie • zombie invasion

CONTRIBUTOR

Simon Perkins
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