Syed film. In much of the rest of

Syed Ali Sultan MS film & TV  Introduction:           Television is commonly shot on numerous cameras. This implies that the director can’t give shot approval for every single shot, needs to coordinate the activity of characters in the cameras, and needs to move along to the quick pace. There is likely close to a solitary go for the practice of TV characterization. Motion pictures may take some time while shooting starts. To create the perfect scene director has to work with the his/her characters and to simulate things in a way which catch an eye of the audience. Obviously, some TV is an exemption to these standards, motion picture style TV is winding up even more a thing Games of Throne, Breaking Bad and etc. I feel that one point not yet said is that motion pictures have the more noteworthy dynamic range and contrast between the lightest and darkest shades. In silver screen projection the screen can be substantially darker in light of the fact that you are oblivious. This clarifies that when motion picture night scenes are appeared on TV they regularly lose the details in the darkest zones. Film Frame In the motion picture each moving frame is flashed on the screen for short interval of time and these standards are set by the international community. These are, usually 1/24, 1/25 or 1/300 of a second and then replaced by the next one.    The mixing frames together so that they produce the illusion of a moving picture. Frame is also use as the measuring unit of time and the duration depends on the frame rate of the system, which depends on the video or film standard which are used. “In North America and Japan, 30 frames per second (fps) is the broadcast standard, with 24 frames/s now common in production for high-definition video shot to look like film. In much of the rest of the world, 25 frames/s is standard. In systems historically based on NTSC standards, for reasons originally related to the Chrominance subcarrier in analog NTSC TV systems, the exact frame rate is actually (3579545 / 227.5) / 525 = 29.97002616 fps. drop-frame timecode. In film projection, 24 fps is the norm, except in some special venue systems, such as IMAX, Showscan and Iwerks 70, where 30, 48 or even 60 frame/s have been used. Silent films and 8 mm amateur movies used 16 or 18 frame/s”. (https://en.wikipedia.org/wiki/Film_frame) Televison Frame: The frame rates that have been used for television since the 1930’s are causing problem for the final product and in those days, video was played by some pause which causes distraction on the screen but now the difference is narrow downed to that point in which its very difficult for the audience and even for the production teams to draw the line. Now the television is being used to somehow fill the shoes of the film but some will differ with my opinion and they have every right to it. The content being air on the TV is similar to the motion picture. “In this paper we report on programmed of experimental work that successfully demonstrated the advantages of higher frame rate capture and display as a means  of improving the quality of television systems of all spatial resolutions. We identify additional benefits from the use of high frame-rate capture for the production of programmers to be viewed using conventional televisions. We suggest ways to mitigate some of the production and distribution issues that high-frame rate television implies”. (http://www.bbc.co.uk/rd/publications/whitepaper169) Literature review  As per reading these articles I get to know that I’m not even close to judge two differentiate b/w the frames of a movie and TV because everything is interconnected to each other. Everything come to the lens that how you use it for example, the 2.40:1 was developed from the 2.35:1 CINEMASCOPE system. Special anamorphic camera lenses are used to squeeze the image during capture. It’s all about how you capture things in your camera. Not just lens each and every device which you use have its own impact Which makes the difference. “Since I am arguing that DVD represents a more significant shift in media than has been acknowledged thus far, it is worthwhile to consider how new technologies intersect with existing practices”. (Television & New Media DOI: 10.1177/1527476404270609 Television New Media 2006; 7; 335 Derek Kompare Publishing Flow: DVD Box Sets and the Reconception of Television) (http://www.theodoropoulos.info/attachments/076_kodak05_Film_Types_and_Formats.pdf)