60fps Anthology?

[Pepe_Java]

I was searching on the archive.org and then I found an VHS copy of the Anthology, which was in 60fps, and I was thinking, is the DVD version 60 fps? Is there a copy without being vhs which is 60 fps? If yes, can anyone send?

[iPanggo]

I was searching on the archive.org and then I found an VHS copy of the Anthology, which was in 60fps, and I was thinking, is the DVD version 60 fps? Is there a copy without being vhs which is 60 fps? If yes, can anyone send?

I recall having some DVD rips downloaded from a torrent a long time ago on my hard drive. I think they are 60fps (actually 50, since they're PAL)

[Pepe_Java]

I was searching on the archive.org and then I found an VHS copy of the Anthology, which was in 60fps, and I was thinking, is the DVD version 60 fps? Is there a copy without being vhs which is 60 fps? If yes, can anyone send?

I recall having some DVD rips downloaded from a torrent a long time ago on my hard drive. I think they are 60fps (actually 50, since they're PAL)

That's what I was thinking! The original DVD should be 50 fps, if you found, please send here.

[Lord Reith]

It's probably from the US or Japanese dvd if it's 60fps. Not noticeably different, but it was made in 25i so 50fps would be the preferred version.

[therowdyman]

If it's 60fps (frames per second), then it's upscaled.

Standard Def video - PAL = 25 fps (50Hz), NTSC = 29.97 fps (60Hz). This is regardless of it being VHS, Laserdisc or DVD.

Because NTSC is close to 30fps (or can be 30fps as it's not consistent), it can be doubled easily enough into 60fps, but you won't see any benefit without manipulating the video. With basic analogue rips you may as well stick to as close to the resolution and frp as the source.

Anthology on DVD was either your standard 480i NTSC or 576i PAL DVD.

Going off-track a little, there's always the "nuclear option" of Domesday Duplicator rips and if someone has a spare 1TB of data to rip the Anthology on LD using this method, I love to see it.

[Pepe_Java]

If it's 60fps (frames per second), then it's upscaled.

Standard Def video - PAL = 25 fps (50Hz), NTSC = 29.97 fps (60Hz). This is regardless of it being VHS, Laserdisc or DVD.

Because NTSC is close to 30fps (or can be 30fps as it's not consistent), it can be doubled easily enough into 60fps, but you won't see any benefit without manipulating the video. With basic analogue rips you may as well stick to as close to the resolution and frp as the source.

Anthology on DVD was either your standard 480i NTSC or 576i PAL DVD.

Going off-track a little, there's always the "nuclear option" of Domesday Duplicator rips and if someone has a spare 1TB of data to rip the Anthology on LD using this method, I love to see it.

I have VHS Anthology, and it's def not interpolated, real 50 fps

[therowdyman]

I have VHS Anthology, and it's def not interpolated, real 50 fps

I might be splitting hairs here:

50 fps (frames per second) is not native to VHS. A PAL tape running at 50Hz will give you 25fps, an NTSC tape will give you 29.97 fps at 60Hz.

However...

When you capture a VHS tape at its native framerate, then when you deinterlace it (which you should because modern TV will do it for you otherwise), you can double the framerate since an interlaced frame is two frames overlapping. PAL becomes 50fps and NTSC 60fps. Also, deinterlacing it means it's becoming a progressive scan video.

If you have a 50fps file of Anthology, it's (hopefully) from a PAL tape. Which means better colour and the speed should be consistent and probably closer to the original 16mm Threetles interview footage (shot at 24 fps) than a 60fps capture from an NTSC copy.

So now, I just need someone to tell me that the PAL tape runs too fast I'm positive there have been comparisons on which format has the best "speed".

[Pepe_Java]

I have VHS Anthology, and it's def not interpolated, real 50 fps

I might be splitting hairs here:

50 fps (frames per second) is not native to VHS. A PAL tape running at 50Hz will give you 25fps, an NTSC tape will give you 29.97 fps at 60Hz.

However...

When you capture a VHS tape at its native framerate, then when you deinterlace it (which you should because modern TV will do it for you otherwise), you can double the framerate since an interlaced frame is two frames overlapping. PAL becomes 50fps and NTSC 60fps. Also, deinterlacing it means it's becoming a progressive scan video.

If you have a 50fps file of Anthology, it's (hopefully) from a PAL tape. Which means better colour and the speed should be consistent and probably closer to the original 16mm Threetles interview footage (shot at 24 fps) than a 60fps capture from an NTSC copy.

So now, I just need someone to tell me that the PAL tape runs too fast I'm positive there have been comparisons on which format has the best "speed".

Yes, I mean 50hz, 25fps

[harrylime]

Not sure where the 50/60 Hz is coming from, PAL and NTSC runs at much higher signal frequencies… It’s just that when you divide its signal into fields (an array of lines the electron beam will use to fill a screen), you will find there are exactly 50 or 60 of them in a second. That’s where the ‘fps’ becomes a problematic term, because before progressive scan, in the video world fps equated fields per second, so indeed also VHS could be called 50 fps. Just in our modern day with digital video and computer games everywhere, fps equates frames per second. So context matters and you could use 25 and 50 fps interchangeably without being incorrect until you clearly define ‘fps’. Also consider HD interlaced is defined as 720i50 and 1080i50, so even there 50 is used even though that’s the field rate, not the frame rate. But in any case Hz wouldn’t be used, at least not in this context as it would indicate a signal frequency which isn’t the case, we’re talking rates here.

[Lord Reith]

The reason that there are 50 fields per second in the UK and 59.94 per second in the US is because the refresh rate of the cathode ray tubes was controlled by the mains frequency: 50hz in the UK and 59.94hz in the US.

Likewise the speed of the synchronous motors in the tape recorders of the day was set by the mains frequency. Which is why Abbey Road and the BBC Radiophonic Workshop and other studios who wanted pitch control had to invent phoney power supplies where a variable 50hz tone was stepped up in voltage to power the tape recorder motor.