서초구청 주관

Term & Element, Interface & Keyframe

"Motion graphics is the art of time"

Object

Subject

Space

Background

Motion

Time & Position

Frame Rate

It's the number of consecutive images (also called frames) needed to achieve real-time motion. In a nutshell: the number of images per seconds.

Common frame rates

1-15 FPS: Hyperlapse or timelapse. (No speed ramping, but better quality) Also used in old films and animations.
24 FPS: This is your go-to FPS. Is used widely by almost every filmmaker and is an industry standard. Commonly referred to as the most "Cinematic” one. Use this for dialogue or shots that doesn't need manipulation in post, like landscapes to keep the maximum amount of details. (this is normally the best quality image you'll get)
25 FPS: The refresh rate used by the PAL system. Used mainly in Europe for television.
30 FPS: It's the NTSC refresh rate (29.97 to be exact) so widely used in television and shows. Can also be used as your frame rate for cinematic sequences, it's really up to preferences. Otherwise, you can conform it to your 24p timeline. It's gonna slow time down to 80% and create a dream-like effect.
48 FPS (HFR): Rarely used in cinematography, a rare occurrence is The Hobbit. From this point on, it looks ultra realistic.
60 FPS (HFR): Used in sports or high action scenes, it removes unwanted motion blur. if used in movies it feels very weird. It looks very digital as the frames are smooth and the details are sharp. Your normal slow motion. Useful to make a moment last longer. Example: A couple looking at each other on a wedding, you want them staring into each other for longer. Or: slowing down action shots.
120 FPS (HFR): Very slow motion. The frame rate used for speed-ramping. Almost stops time. Also useful to remove camera shake too. it degrades quality as well since you're spreading your mbits/s across much more frames.
240 FPS + (HFR): Extremely slow motion, but footage loses quality drastically. An entry-level camera like the Gopro can achieve this.

10 frame rate per second

Duration 3 seconds / GIF image : 33 KB

20 frame rate per second

Duration 3 seconds / GIF image : 54 KB

50 frame rate per second

Duration 3 seconds / GIF image : 105 KB

Aspect Ratio

Aspect ratio refers to how the image appears on the screen based on how it was shot–the ratio of width (horizontal or top) to height (vertical or side) of a film frame, image, or screen.

Dating back to Thomas Edison’s equipment, 1.33:1 was for a long time the typical aspect ratio for film. The ratio 1.33:1, which was dubbed “Academy aperture” in 1932 by the Academy of Motion Picture Arts and Sciences, soon became the first standard ratio in film, and was used until the 1950s. (The ratio 1.33:1 is the same as the 4:3 ratio of a television screen.) During the 1950s, developments in wide-screen formats and aspect ratios were introduced, including 1.65:1 and higher. Other anamorphic systems, such as CinemaScope and Panavision, have an aspect ratio of 2.35:1, while Cinerama had a ratio of 2.77:1. The aspect ratio for 70-mm. films is 2.2:1, and letterboxed videos for wide-screen televisions usually have an aspect ratio of 1.77:1 (or 16:9). Standard 35-mm. films have an aspect ratio of 1.85:1 (normally 1.66:1 in Europe).

7:9 / 2:3:3 / 0.77:1 = Paper (8.5x11).
12:9 / 4:3 / 1,33:1 = Television.
15:9 / 5:3 / 1.66:1 = Photographs, many European movies.
16:9 / 5:3:3 / 1.78:1 = DVD, HDTV, most widescreen TV.
16.7:9 / 5.6:3 / 1.85:1 = Most movies.
19:9:9 / 6.6:3 / 2.21:1 = Wide movies (70 mm).
21.2:9 / 7.1:3 / 2.35:1 = Wide movies (Panavision, Cinemascope).
24.3:9 / 8.1:3 / 2.7:1 = Extra-wide movies (Ultra Panavision).

Pixel (Picture + Element)

The word pixel is a portmanteau of pix (from "pictures", shortened to "pics") and el (for "element"); similar formations with 'el' include the words voxel and texel. The word pix appeared in Variety magazine headlines in 1932, as an abbreviation for the word pictures, in reference to movies. By 1938, "pix" was being used in reference to still pictures by photojournalists.

The word "pixel" was first published in 1965 by Frederic C. Billingsley of JPL, to describe the picture elements of scanned images from space probes to the Moon and Mars. Billingsley had learned the word from Keith E. McFarland, at the Link Division of General Precision in Palo Alto, who in turn said he did not know where it originated. McFarland said simply it was "in use at the time" (circa 1963).

The concept of a "picture element" dates to the earliest days of television, for example as "Bildpunkt" (the German word for pixel, literally 'picture point') in the 1888 German patent of Paul Nipkow. According to various etymologies, the earliest publication of the term picture element itself was in Wireless World magazine in 1927, though it had been used earlier in various U.S. patents filed as early as 1911.

Some authors explain pixel as picture cell, as early as 1972. In graphics and in image and video processing, pel is often used instead of pixel. For example, IBM used it in their Technical Reference for the original PC.

Pixels, abbreviated as "px", are also a unit of measurement commonly used in graphic and web design, equivalent to roughly 1⁄96 inch (0.26 mm). This measurement is used to make sure a given element will display as the same size no matter what screen resolution views it.

Pixilation, spelled with a second i, is an unrelated filmmaking technique that dates to the beginnings of cinema, in which live actors are posed frame by frame and photographed to create stop-motion animation. An archaic British word meaning "possession by spirits (pixies)", the term has been used to describe the animation process since the early 1950s; various animators, including Norman McLaren and Grant Munro, are credited with popularizing it.

ppi (pixels per inch)

Pixels per inch (ppi) and pixels per centimetre (ppcm or pixels/cm) are measurements of the pixel density (resolution) of an electronic image device, such as a computer monitor or television display, or image digitizing device such as a camera or image scanner. Horizontal and vertical density are usually the same, as most devices have square pixels, but differ on devices that have non-square pixels.

Pixels per inch (or pixels per centimetre) can also describe the resolution, in pixels, of an image file. A 100×100 pixel image printed in a 1 inch square has a resolution of 100 pixels per inch. Used this way, the measurement is meaningful when printing an image. It has become commonplace to refer to PPI as DPI, even though PPI refers to input resolution. Industry standard, good quality photographs usually require 300 pixels per inch, at 100% size, when printed onto coated paper stock, using a printing screen of 150 lines per inch (lpi). This delivers a quality factor of 2, which is optimum. The lowest acceptable quality factor is considered 1.5, which equates to printing a 225 ppi image using a 150 lpi screen onto coated paper.

Screen frequency is determined by the type of paper the image is printed on. An absorbent paper surface, uncoated recycled paper for instance, lets ink droplets spread (dot gain)—so requires a more open printing screen. Input resolution can therefore be reduced to minimize file size without loss in quality, as long as the quality factor of 2 is maintained. This is easily determined by doubling the line frequency. For example, printing on an uncoated paper stock often limits printing screen frequency to no more than 120 lpi, therefore, a quality factor of 2 is achieved with images of 240 ppi.

5ppi (5pixel x 5pixel = Total 25 Pixel)1 inch = 2.54cm

Interlaced & Progressive

Interlaced Scan and Progressive Scan are the formation scanning technique wide employed in analog video system.

Interlaced Scan

Interlaced Scanning takes place over dividing one frame. In interlaced scan, the displaying video speed is lesser than progressive scan. In interlaced scan, the video quality is vulgarized and there is present the combing effect in interlaced scan.

ex) 1080i60

Progressive Scan

Progressive Scanning takes place through scanning all frame promptly. In progressive scan, the displaying video speed is quicker than interlaced scan. In progressive scan, the video quality is superior than interlaced scan and there is not present combing effect in progressive scan.

ex) 1080p30

RGB+@

컬러 표현에 쓰이는 기본 색상이나 색상 조합 모델. RGB는 각각 R(Red, 빨간색), G(Green, 녹색), B(Blue, 파란색)를 뜻한다. 이 세 가지 색깔을 빛의 삼원색이라고도 부른다. 이 세가지 빛을 조합하면 우리가 눈으로 볼 수 있는 어떤 색깔이든 다 만들 수 있다. 섞으면 결국 검은색이 되는 잉크의 기본 색상인 CYMK [1]와는 정반대로, RGB는 세 가지색을 섞으면 흰색이 된다. 위 그림에서 보는 것처럼 RGB를 두 개씩 섞으면 CYM이 나온다. 반대로 CYM을 두 개씩 섞으면 RGB가 나온다.

디지털 컬러 모델에서는 각 원색마다 수치화된 값을 주는 방식으로 농도를 표시한다. 예를 들어 각 원색마다 1바이트, 즉 0~255까지 수치를 부여할 경우 0은 그 색깔이 전혀 없는 것을 뜻하며 255는 그 색깔이 100% 들어간다는 뜻이다. 세 가지 원색에 1바이트씩을 부여하면 RGB로 색깔을 표현하기 위해서 총 3바이트, 즉 24비트가 필요하다. 이럴 경우 표현할 수 이는 색깔은 총 16,777,216 가지이며 이를 트루 컬러(true color)라고 부른다. 물론 이게 끝은 아니다. 각 원색 당 데이터 용량을 더 올리면 농도를 더욱 세분화할 수 있으므로 더욱 많은 색깔을 표현할 수 있다. 트루 컬러보다 색깔 단위 데이터 용량이 큰 것을 보통 딥 컬러(deep color)라고 부른다.

RGB에 투명도를 뜻하는 알파값(A)을 추가하는 게 보통이며, 원색 당 1 바이트를 쓴다면 알파값까지 들어갈 경우 색깔 하나가 32비트, 즉 4비트를 차지한다. 요즈음은 이러한 32비트 모델을 주로 사용하며 이를 RGBA라고도 한다. 디지털 세계에서는 2의 제곱이 아주 좋기 때문에 24비트보다는 32비트가 다루기 편하며, 그래서 요즈음은 32비트 RGBA 모델이 대세를 이루고 있다.

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