DOCSLIB.ORG

Cinematic High Frame Rates

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cinematic High Frame Rates Cinematic High Frame Rates The future of film, or aesthetic dead end? Øystein Birkenes Master's thesis, Media Studies Department of Media and Communication Faculty of Humanities UNIVERSITY OF OSLO Spring 2018 2 Cinematic High Frame Rates The future of film, or aesthetic dead end? Master's thesis, Media Studies Øystein Birkenes 3 © Øystein Birkenes 2018 Cinematic High Frame Rates: The future of film, or aesthetic dead end? Øystein Birkenes http://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo 4 Summary HFR (High Frame Rate) technology for filmmaking has recently seen attempts at introduction into mainstream cinema. Despite showing considerable promise for benefits to the film experience, the technology has encountered problems with unfavorable audience receptions, linked to the particular aesthetic that a higher frame rate confers on the motion picture. This thesis explores the characteristics of these obstacles and the factors behind them, as well as the benefits that HFR also can bring onto the film experience. The results of this investigation indicate a significant steepness of the problems that HFR has encountered with its aesthetic reception, with possible contributions from factors that have currently not garnered much attention in the discussion surrounding the technology. Simultaneously, there are indications that higher frame rates' unique benefit for 3D viewing comfort tend to be slightly overstated, moderating the impetus for its adoption. Sammendrag Det har nylig blitt gjort forsøk på å introdusere såkalt HFR-teknologi (High Frame Rate) i kinofilm. På tross av å inneha et betydelig potensiale for forbedringer av filmopplevelsen, har teknologien møtt problemer med negativ publikumsrespons, i sammenheng med hvordan høyere bildefrekvenser endrer filmbildets estetikk. Denne oppgaven utforsker karakteristikker ved disse problemene og mulige, underliggende faktorer, i tillegg til fordelene som HFR også kan ha for filmopplevelsen. Resultatene fra oppgavens undersøkelser antyder at problemene med HFR-films estetiske mottakelse kan være svært substansielle, med mulige bidrag fra faktorer som foreløpig ikke har mottatt mye oppmerksomhet i den offentlige diskusjonen rundt teknologien. Samtidig er det indikasjoner på at teknologiens unike rolle i å forbedre visuell komfort og behag for 3D-film tenderer til å være noe overvurdert. Dette spiller inn i en reduksjon av det forespeilte behovet for teknologiens framtidige benyttelse. 5 6 Foreword Many thanks to my counsellor over the past 17 months (spring 2017 - spring 2018), Prof. Liv Hausken. She has provided exactly the assistance I needed — not least with tempering my occasionally overflowing verbiage, stemming from an enthusiasm for the topics explored herein. Also many thanks to my parents, for concern and support, and my younger brother Håvard, for some last-minute proofreading. 7 8 Table of contents Introduction .........................................................................................................................................11 Chapters .............................................................................................................................................12 Theory and methods ..........................................................................................................................13 Broader interest .................................................................................................................................15 CHAPTER ONE: HFR and viewing comfort ....................................................................................17 Introduction .......................................................................................................................................17 Chapter questions ..........................................................................................................................18 Structure and previous work ..........................................................................................................19 Motion artifacts: terminology, description, discussion ......................................................................21 Judder and motion blur ..................................................................................................................21 Unsmooth motion ..........................................................................................................................25 Mitigating factors ..........................................................................................................................26 Motion artifacts and film scholarship .................................................................................................27 The current 3D cinema experience .....................................................................................................28 Motion blur ....................................................................................................................................29 3D and the visibility of motion artifacts ........................................................................................35 3D and judder ................................................................................................................................38 Multi-flashing, dark frames and "edge banding" ..........................................................................39 Light levels .....................................................................................................................................44 3D temporal asynchrony ................................................................................................................45 Accommodation-vergence conflict ................................................................................................47 Large disparities, frequently changing disparities ..........................................................................47 Motion sickness ..............................................................................................................................48 3D glasses .......................................................................................................................................48 Conclusion .........................................................................................................................................49 CHAPTER TWO: HFR and convention ............................................................................................52 Introduction ........................................................................................................................................52 Chapter questions and structure .....................................................................................................54 The soap opera ....................................................................................................................................55 Soap opera style .............................................................................................................................56 Conditions for film- and video-aesthtetics ........................................................................................60 Dynasty ...........................................................................................................................................60 9 I, Claudius ......................................................................................................................................63 A special role for motion ................................................................................................................65 HFR cinema analyses: Billy Lynn's Long Half-Time Walk ...............................................................67 Revealing the artifice .....................................................................................................................68 An uncanny climax .........................................................................................................................71 Props on a set, props in a game ......................................................................................................73 HFR cinema analyses: The Hobbit: An Unexpected Journey .............................................................75 The caverns chase scene .................................................................................................................76 The introductory meeting scene .....................................................................................................78 Unsettling close-ups .......................................................................................................................81 Variable Frame Rate (VFR) ...........................................................................................................83 HFR and video games ....................................................................................................................85 Conclusion ...........................................................................................................................................5 CHAPTER THREE: Frame rate beyond convention ......................................................................89 Introduction ........................................................................................................................................89 Chapter question and structure .......................................................................................................90
Load more

Recommended publications
  • Master Class with Douglas Trumbull Selected Bibliography 1 the Higher
    Master Class with Douglas Trumbull Selected Bibliography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Redefining the “Cinema of Attractions” (General) Abel, Richard. “The Cinema of Attractions.” in The Cine Goes to Town: French Cinema, 1896-1914. Berkeley: University of California Press, 1994. ---. “The Cinema of Attractions in France, 1896-1904.” in The Silent Cinema Reader. Lee Grieveson and Peter Krämer (eds). London: Routledge, 2006. 63-75. Buckland, Warren. “A Rational Reconstruction of ‘The Cinema of Attractions’.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 41- 56. Bukatman, Scott. “Spectacle, Attractions and Visual Pleasure.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 71-82. Elsaesser, Thomas. “Discipline through Diegesis: The Rube Film between ‘Attractions’ and ‘Narrative Integration’.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 205-223. Gaudreault, André and Tom Gunning. “Early Cinema as a Challenge to Film History.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 365-380. Gunning, Tom. “The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde.” Wide Angle 8.
    [Show full text]
  • Legacy Effects Impact of Motion Control and CG
    Cory Radtke CVFX: Legacy Effects Impact of Motion Control And CG Imaging In Cinema “It’s easy to create something that has a lot of luster, but it’s very hard to make something that has a lot of depth.” These words, from John Dykstra – a motion control pioneer – encapsulate the state of mind in the film effects industry in the late 60’s. Special effects for cinema had reached a point which at audiences required more impressive visuals that were more detailed and realistic to suspend their disbelief. The weariness had set in, in the 50’s/early 60’s because of the bombardment of super low budget B-movie action and horror films. With the established use of stop motion and optical printing techniques, effects technicians- provoked by visionary filmmakers worked to push the envelope. The content also dictated the advancements necessary to tell/show the stories. One such film that changed the industry forever was Stanley Kubrick’s 2001: A Space Odyssey. The production of the film gave birth to motion control and and slit-scan photography, pushed by a visionary and a vision - “Do it right, do it better then do it all over again”(Costa 5). Kubrick helped open the door to following decades of visual marvels that have since become staples in motion picture effects work. Innovation after innovation, the technical achievements pushed forward by motion-control - soon after included: Star Wars, Close Encounters of the Third Kind, and Superman, and Blade Runner. (Edwards 2-9). As 2001 opened the door to motion-control, subsequent films – most notably Star Wars adapted and advanced the technology with the minds at the newly created ILM, by George Lucas.
    [Show full text]
  • Srinivasan College of Arts and Science
    SRINIVASAN COLLEGE OF ARTS AND SCIENCE (Affiliated to Bharathidasan University, Tiruchirappalli) Perambalur-621 212 COURSE MATERIAL OF INTRODUCTION TO FILM STUDIES-16ACCJM8 For II B.A Journalism and Mass Communication Prepared by V.ChandraChowdry & Dr.S.Revathi Core Course VIII - Introduction to Film Studies Objective: To enable the students understand and appreciate the historical, social, political, cultural and economical aspects of film locally, nationally and globally. UNIT I Film as a medium: Characteristic - Film perception: levels of understanding - Film theory and semiotics - formalism and neo formalism - film language - film and psycho - analysis - film and cultural identity: hermeneutics, reception aesthetics and film interpretation. UNIT II Film forms: narrative and non-narrative - Acting, costume and music - Film and post modernism -post structuralism and deconstruction. Impressionism, expressionism, and surrealism. UNIT III Film production: Visualisation - script - writing - characterization - storyboard - tools and techniques. Continuity style: composing shots - spatial (mise en scene) - temporal (montage) - Camera shots: pan, crane, tracking, and transition. Sound in cinema: dimensions and functions. UNIT IV Film festival - Film awards - Film institute’s censorship certification - Cinema theatres and Projections. UNIT V Film business and Industry - Economic- finance and business of film - film distribution - import and export of films - regional cinema with special reference to Tamil cinema. Budgeting and schedules UNIT-I Movie Film, also called movie or motion picture, is a visual art used to simulate experiences that communicate ideas, stories, perceptions, feelings, beauty or atmosphere by the means of recorded or programmed moving images along with other sensory stimulations.[1] The word "cinema", short for cinematography, is often used to refer to filmmaking and the film industry, and to the art form that is the result of it.
    [Show full text]
  • Widescreen Weekend 2008 Brochure (PDF)
    A5 Booklet_08:Layout 1 28/1/08 15:56 Page 41 THIS IS CINERAMA Friday 7 March Dirs. Merian C. Cooper, Michael Todd, Fred Rickey USA 1952 120 mins (U) The first 3-strip film made. This is the original Cinerama feature The Widescreen Weekend continues to welcome all which launched the widescreen those fans of large format and widescreen films – era, and is about as fun a piece of CinemaScope, VistaVision, 70mm, Cinerama and IMAX – Americana as you are ever likely and presents an array of past classics from the vaults of to see. More than a technological curio, it's a document of its era. the National Media Museum. A weekend to wallow in the nostalgic best of cinema. HAMLET (70mm) Sunday 9 March Widescreen Passes £70 / £45 Dir. Kenneth Branagh GB/USA 1996 242 mins (PG) Available from the box office 0870 70 10 200 Kenneth Branagh, Julie Christie, Derek Jacobi, Kate Winslet, Judi Patrons should note that tickets for 2001: A Space Odyssey are priced Dench, Charlton Heston at £10 or £7.50 concessions Anyone who has seen this Hamlet in 70mm knows there is no better-looking version in colour. The greatest of Kenneth Branagh’s many achievements so 61 far, he boldly presents the full text of Hamlet with an amazing cast of actors. STAR! (70mm) Saturday 8 March Dir. Robert Wise USA 1968 174 mins (U) Julie Andrews, Daniel Massey, Richard Crenna, Jenny Agutter Robert Wise followed his box office hits West Side Story and The Sound of Music with Star! Julie 62 63 Andrews returned to the screen as Gertrude Lawrence and the film charts her rise from the music hall to Broadway stardom.
    [Show full text]
  • PDF) ISBN 978-0-9931996-4-6 (Epub)
    POST-CINEMA: THEORIZING 21ST-CENTURY FILM, edited by Shane Denson and Julia Leyda, is published online and in e-book formats by REFRAME Books (a REFRAME imprint): http://reframe.sussex.ac.uk/post- cinema. ISBN 978-0-9931996-2-2 (online) ISBN 978-0-9931996-3-9 (PDF) ISBN 978-0-9931996-4-6 (ePUB) Copyright chapters © 2016 Individual Authors and/or Original Publishers. Copyright collection © 2016 The Editors. Copyright e-formats, layouts & graphic design © 2016 REFRAME Books. The book is shared under a Creative Commons license: Attribution / Noncommercial / No Derivatives, International 4.0 (http://creativecommons.org/licenses/by-nc-nd/4.0/). Suggested citation: Shane Denson & Julia Leyda (eds), Post-Cinema: Theorizing 21st-Century Film (Falmer: REFRAME Books, 2016). REFRAME Books Credits: Managing Editor, editorial work and online book design/production: Catherine Grant Book cover, book design, website header and publicity banner design: Tanya Kant (based on original artwork by Karin and Shane Denson) CONTACT: [email protected] REFRAME is an open access academic digital platform for the online practice, publication and curation of internationally produced research and scholarship. It is supported by the School of Media, Film and Music, University of Sussex, UK. Table of Contents Acknowledgements.......................................................................................vi Notes On Contributors.................................................................................xi Artwork…....................................................................................................xxii
    [Show full text]
  • Beautiful Family! Broadway/ First National Tour: Beautiful; Betty/ Ensemble
    SARAH BOCKEL (Carole King) is thrilled to be back on the road with her Beautiful family! Broadway/ First National Tour: Beautiful; Betty/ Ensemble. Regional: Million Dollar Quartet (Chicago); u/s Dyanne. Rocky Mountain Repertory Theatre- Les Mis; Madame Thenardier. Shrek; Dragon. Select Chicago credits: Bohemian Theatre Ensemble; Parade, Lucille (Non-eq Jeff nomination) The Hypocrites; Into the Woods, Cinderella/ Rapunzel. Haven Theatre; The Wedding Singer, Holly. Paramount Theatre; Fiddler on the Roof, ensemble. Illinois Wesleyan University SoTA Alum. Proudly represented by Stewart Talent Chicago. Many thanks to the Beautiful creative team and her superhero agents Jim and Sam. As always, for Mom and Dad. ANDREW BREWER (Gerry Goffin) Broadway/Tour: Beautiful (Swing/Ensemble u/s Gerry/Don) Off-Broadway: Sex Tips for Straight Women from a Gay Man, Cougar the Musical, Nymph Errant. Love to my amazing family, The Mine, the entire Beautiful team! SARAH GOEKE (Cynthia Weil) is elated to be joining the touring cast of Beautiful - The Carole King Musical. Originally from Cape Girardeau, Missouri, she has a BM in vocal performance from the UMKC Conservatory and an MFA in Acting from Michigan State University. Favorite roles include, Sally in Cabaret, Judy/Ginger in Ruthless! the Musical, and Svetlana in Chess. Special thanks to her vital and inspiring family, friends, and soon-to-be husband who make her life Beautiful. www.sarahgoeke.com JACOB HEIMER (Barry Mann) Theater: Soul Doctor (Off Broadway), Milk and Honey (York/MUFTI), Twelfth Night (Elm Shakespeare), Seminar (W.H.A.T.), Paloma (Kitchen Theatre), Next to Normal (Music Theatre CT), and a reading of THE VISITOR (Daniel Sullivan/The Public).
    [Show full text]
  • High-Speed Imaging in Fluids
    Exp. Fluids manuscript No. (will be inserted by the editor) High-speed imaging in fluids Michel Versluis Version: November 22, 2012 Abstract High-speed imaging is in popular demand for a broad range of experiments in fluids. It allows for a detailed visualization of the event under study by acquiring a series of image frames captured at high temporal and spatial resolution. This review covers high-speed imaging basics, by defining criteria for high-speed imaging experiments in fluids and to give rule-of-thumbs for a series of cases. It also considers stroboscopic imaging, triggering and illumination, and scaling issues. It provides guidelines for testing and calibration. Ultra high-speed imaging at frame rates exceeding 1 million frames per second is reviewed, and the combination of conventional experiments in fluids techniques with high-speed imaging techniques are discussed. The review is concluded with a high-speed imaging chart, which summarizes criteria for temporal scale and spatial scale and which facilitates the selection of a high-speed imaging system for the application. Keywords flow visualization ultra high-speed imaging · PACS 42.79.Pw 42.65.Re · Michel Versluis Physics of Fluids Group, MESA+ Institute of Nanotechnology, MIRA Institute of Biomedical Technology and Technical Medicine, University of Twente P.O. Box 217, 7500 AE Enschede, The Netherlands Tel.: +31 53 489 8077, Fax: +31 53 489 8068 E-mail: [email protected] 1 Introduction The beauty of slow-motion movies captured with high-speed imaging has traditionally been described along the words ‘making the invisible visible’, ‘seeing is believing’, ‘seeing the unseen’, ‘making flow motion into slow mo- tion’, ‘science or art’, or ‘capturing the moment’.
    [Show full text]
  • Arc Productions: Selected Bibliography 1 the Higher Learning
    Arc Productions: Selected Bibliography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Special Effects Cinematography in Film (Practice) Foster, Jeff. The Green Screen Handbook: Real-world Production Techniques. Indianapolis: Wiley, 2010. Menache, Alberto. Understanding Motion Capture for Computer Animation. Burlington, M.A: Morgan Kaufmann, 2011. Mitchell, A.J. Visual Effects for Film and Television. Oxford: Focal Press, 2012. Wright, Steve. Compositing Visual Effects: Essentials for the Aspiring Artist. Amsterdam: Elsevier/Focal Press, 2013. Special Effects Cinematography in Film (History and Theory) Glintenkamp, Pamela. Industrial Light and Magic: The Art of Innovation. New York: Abrams, 2011. Klein, Norman M. The Vatican to Vegas: A History of Special Effects. New York: New Press, 2004. McClean, Shilo T. Digital Storytelling: The Narrative Power of Visual Effects in Film. Cambridge: The MIT Press, 2007. Miller, Ron. Special Effects: An Introduction to Movie Magic. Minneapolis: Twenty-First Century Books, 2006. Netzley, Patricia D. Encyclopedia of Movie Special Effects. Phoenix: Oryx Press, 2000. Pierson, Michele. Special Effects: Still in Search of Wonder. New York: Columbia University Press, 2002. Pinteau, Pascal. “Interview with Douglas Trumbull: Memories of 2001.” in Special Effects: An Oral History – Interviews with 38 Masters Spanning 100 Years. New York: Harry N. Abrams, 2004.
    [Show full text]
  • Asians & Pacific Islanders Across 1300 Popular Films (2021)
    The Prevalence and Portrayal of Asian and Pacific Islanders across 1,300 Popular Films Dr. Nancy Wang Yuen, Dr. Stacy L. Smith, Dr. Katherine Pieper, Marc Choueiti, Kevin Yao & Dana Dinh with assistance from Connie Deng Wendy Liu Erin Ewalt Annaliese Schauer Stacy Gunarian Seeret Singh Eddie Jang Annie Nguyen Chanel Kaleo Brandon Tam Gloria Lee Grace Zhu May 2021 ASIANS & PACIFIC ISLANDERS ACROSS , POPULAR FILMS DR. NANCY WANG YUEN, DR. STACY L. SMITH & ANNENBERG INCLUSION INITIATIVE @NancyWangYuen @Inclusionists API CHARACTERS ARE ABSENT IN POPULAR FILMS API speaking characters across 1,300 top movies, 2007-2019, in percentages 9.6 Percentage of 8.4 API characters overall 5.9% 7.5 7.2 5.6 5.8 5.1 5.2 5.1 4.9 4.9 4.7 Ratio of API males to API females 3.5 1.7 : 1 Total number of speaking characters 51,159 ‘ ‘ ‘ ‘‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ A total of 3,034 API speaking characters appeared across 1,300 films API LEADS/CO LEADS ARE RARE IN FILM Of the 1,300 top films from 2007-2019... And of those 44 films*... Films had an Asian lead/co lead Films Depicted an API Lead 29 or Co Lead 44 Films had a Native Hawaiian/Pacific 21 Islander lead/co lead *Excludes films w/ensemble leads OF THE 44 FILMS OF THE 44 FILMS OF THE 44 FILMS OF THE 44 FILMS WITH API WITH API WITH API WITH API LEADS/CO LEADS LEADS/CO LEADS LEADS/CO LEADS LEADS/CO LEADS 6 0 0 14 WERE WERE WOMEN WERE WERE GIRLS/WOMEN 40+YEARS OF AGE LGBTQ DWAYNE JOHNSON © ANNENBERG INCLUSION INITIATIVE TOP FILMS CONSISTENTLY LACK API LEADS/CO LEADS Of the individual lead/co leads across 1,300 top-grossing films..
    [Show full text]
  • Decade Douglas Trumbull
    12 20 Information & Communication Technology March 2 Defining t h e Next Decade Creative Technology Keynote Speaker Designer Douglas Filmmaker Trumbull Inventor Entrepreneur Information Technology PROGRAM Dear Participants, Welcome! To the Information & Communication Technology Summit 2012. Forward thinking and innovative ideas are called for. We want to help create an academic environment that not only addresses the needs of our students now, but considers new ways of collaboration and envisioning that are open to us. We cannot build a better tomorrow alone. Through this ICT Summit, we have the opportunity to come together and meet the challenge to visualize and plan how we can use current developments in technology and plan for technical advances that react and respond to our needs, based on pedagogy and content. Collaboratively we, as a community, can place ourselves to be a forerunner of new ideas and technologies rather than simply following or matching the standards of the day. Thank you for attending the ICT Summit 2012. Regards, Patricia Galvis-Assmus 1 Schedule Coffee & Digital Inferno review: Students, faculty & AM 8:30 researchers share current and future IT related projects 9:00 Welcome - Patricia Galvis Assmus, IT Program Director Overview and Intro. to the Day: by Carol Barr, 9:15 Vice Provost Undergraduate & Continuing Education 9:30 Digital Inferno 9:50 Organize Working Groups 10:00 Working Session - Discussions Groups 10:30 Discussion Results 11:00 Break Open Education Initiative (OEI): 11:10 Presentation and announcement of recipients. 11:15 OEI Library Support Team 11:35 New Initiatives on Campus 12:00 Lunch PM Copyright and Faculty Rights Webinar (Dukes Room): 1:00 The challenges and solutions of applying copyright law in your classrooms, research and scholarly publications.
    [Show full text]
  • 6:1 (Spring 2016): 58-66
    Michael LaRocco The “Film Look” as Semiotic Decoy: Slow Frame Rate as Cinematic Code Abstract This paper investigates the epistemological effects of frame rate in fiction film and television through an analysis of contemporary video camera technology. HD video has widely overtaken film as the dominant motion picture shooting format over the start of the 21st century, but despite the new format’s ability to render images at much faster frame rates, video camera manufacturers have largely opted to recreate the motion rendering of 35mm film by preserving its comparatively slow 24 frame- per-second frame rate – achieving what the filmmaking trade press calls “the film look.” The development of video technology represents a unique example in technological evolution, as it has been driven by a logic of emulation rather than a more common logic of obsolescence, in which the “new and improved” replaces the old and stale. I argue that the emulation of film in video camera technology reveals the extent to which frame rate functions as a visual code in narrative cinema, serving as both an indicator of high production value and also a means for coding images as fictional. Even before its critical and commercial success, release of 28 Days Later: “Video has long held a Danny Boyle’s horror film 28 Days Later (2002) stigma in the feature film world that’s been a barrier was making waves in the independent filmmaking to distribution. If an independent feature was shot community. Boyle and his cinematographer, on video, it was considered an amateur production Anthony Dod Mantle, had challenged aesthetic that was relegated to cable access or maybe late and industrial conventions by shooting the movie night broadcast TV.
    [Show full text]
  • Alchemist File - Understanding Cadence
    GV File Understanding Cadence Alchemist File - Understanding Cadence Version History Date Version Release by Reason for changes 27/08/2015 1.0 J Metcalf Document originated (1st proposal) 09/09/2015 1.1 J Metcalf Rebranding to Alchemist File 19/01/2016 1.2 G Emerson Completion of rebrand 07/10/2016 1.3 J Metcalf Updated for additional cadence controls added in V2.2.3.2 12/10/2016 1.4 J Metcalf Added Table of Terminology 11/12/2018 1.5 J Metcalf Rebrand for GV and update for V4.*** 16/07/2019 1.6 J Metcalf Minor additions & corrections 05/03/2021 1.7 J Metcalf Rebrand 06/09/2021 1.8 J Metcalf Add User Case (case 9) Version Number: 1.8 © 2021 GV Page 2 of 53 Alchemist File - Understanding Cadence Table of Contents 1. Introduction ............................................................................................................................................... 6 2. Alchemist File Input Cadence controls ................................................................................................... 7 2.1 Input / Source Scan - Scan Type: ............................................................................................................ 7 2.1.1 Incorrect Metadata ............................................................................................................................ 8 2.1.2 Psf Video sources ............................................................................................................................. 9 2.2 Input / Source Scan - Field order ..........................................................................................................
    [Show full text]