15.1 HD Video15.1.1 Frame Formats15.1.2 Anamorphic Video15.1.3 Scan Modes15.1.4 Working with Interlaced Video15.1.4.1 De-interlacing15.1.4.2 Scan Line Interpolation15.1.4.3 Field Averaging15.1.5 Color Subsampling15.1.6 Keying with 4:2:2 Video15.1.7 Frame Rates15.1.7.1 24, 25, 30, 60fps15.1.7.2 23.98, 29.97, 59.94fps15.1.8 Timecodes15.1.9 Video File Formats15.1.10 Telecine15.1.10.1 The 3:2 Pull-down15.1.10.2 The 3:2 Pull-up15.2 Digital Cinema Images15.2.1 Digital Camera Advantages15.2.2 The Bayer Array15.2.3 Sensor Crop15.2.4 HFR – High Frame Rate15.2.5 The DCI15.3 Film Scans15.3.1 Grain15.3.2 The “Safe-to” Window15.3.3 Apertures15.3.4 Aspect Ratios15.3.5 Film Formats15.3.5.1 Full Aperture15.3.5.2 Academy Aperture15.3.5.3 Super 35 Formats15.3.5.4 Cinemascope15.3.5.5 Working with Cscope15.3.5.6 “3-perf” Film15.3.5.7 VistaVision15.3.5.8 65mm/70mm15.3.5.9 IMAX15.4 Log Images15.4.1 What Are Log Images?15.4.2 Why We Need Log Images15.4.2.1 Human Vision15.4.2.2 Data Compression15.4.2.3 Working with Log Images15.5 Light Field Cinematography15.5.1 How It Works15.5.2 The Impact on Visual Effects15.5.2.1 Deep Images15.5.2.2 Arbitrary Depth of Field15.5.2.3 Depth Maps15.5.2.4 Stereo Through a Single Lens15.5.2.5 Volumetric Optical Flow15.5.2.6 Position Pass15.5.2.7 Point Clouds15.5.2.8 Mattes15.5.2.9 Normals and Normal Relighting15.5.2.10 Camera Tracking15.5.3 When, and How Much?