Using as low fps as possible was desirable because film costs money, film transports get more finicky as fps are increased and exposure gets tricky (doubling or even tripling the frame rate leaves you with a much shorter exposure time, which you need to compensate either with a larger aperture (which may not be available, or if it is, cost a lot of money), or more sensitive film (which may not have been available, or has much worse quality), or by having more light in the scene - all of these are either undesirable or expensive). That's why they could get away with 24 fps: Since they are dealing with stored images, multiple exposures were possible to avoid flickering. Note that 24 fps film cinema runs at 72 Hz flicker due to triple-exposing each frame. Something like resolution extrapolation is probably better but that ship sailed ages ago.ĭoesn't strike me as true, 50 fps video is very common all over the world and doesn't have many issues besides noticeable flicker on CRTs. This idea ran in parallel with image processing people attempting to estimate higher resolution from a single image for a while, and unfortunately the terminology stuck in image processing also. The key thing is, though, you actually have more data to work with. You can do an approximate version of this with video, with caveats because you don't control the motion. Of course this only works if what you are imaging is reasonably static over the time needed to take all the images. Some modern photographic systems actually do this directly (piezo motors?) on the sensor. If you can control imaging with finer resolution than the sensor has, you can take multiple images and reconstruct a higher resolution image in a principled way for say 2x resolution gain (cf super-resolution microscopy), also some telescope systems. Originally super-resolution was a hardware technique, and not "guessing". One of those annoying things is that the name "super resolution" stuck, here.
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