Unanswered, you can go no further

[n0spam4me]

NEVER say "IMPOSSIBLE" ......

 

[daws101]

NEVER say "IMPOSSIBLE" ......

it's impossible to kiss your own ass or your elbow.
it's impossible for humans to breathe in space or underwater without mechanical devices.
it is impossible to walk the circumference of the earth .
need I go on?

 

[n0spam4me]

Obviously its impossible for some people to get the violations of the laws of physics that have been sold to the public by the mainstream propaganda machine.

 

[daws101]

Obviously its impossible for some people to get the violations of the laws of physics that have been sold to the public by the mainstream propaganda machine.

what's even more obvious is the only people saying that don't know jack shit about the laws physics..

 

[n0spam4me]

Obviously its impossible for some people to get the violations of the laws of physics that have been sold to the public by the mainstream propaganda machine.

what's even more obvious is the only people saying that don't know jack shit about the laws physics..

So you believe that its perfectly ok for the media to show you pix of an airliner that penetrates a steel skyscraper wall, like a hot knife through butter, and you have absolutely no problem with believing that its a real event with a real airliner..... right?

 

[daws101]

Obviously its impossible for some people to get the violations of the laws of physics that have been sold to the public by the mainstream propaganda machine.

what's even more obvious is the only people saying that don't know jack shit about the laws physics..

So you believe that its perfectly ok for the media to show you pix of an airliner that penetrates a steel skyscraper wall, like a hot knife through butter, and you have absolutely no problem with believing that its a real event with a real airliner..... right?

no, why should I....oh that's right, I do know jack shit about physics!
also design and engineering..
the outer walls of the wtc's WERE not structural (meaning they did not hold up the buildings) the glass, aluminium and steel were all relatively light weight you did know tall buildings have weight restrictions depend on what type of soil the foundation is laid in.
i in fact o shit for brains the wtc complex was constructed in a huge pit for just that reason.
the point is, an airliner flying at it's top speed is carrying a shit load kinetic energy, not to mention it's mass. the "wall" you put so much faith in would be like used tissue.

 

[n0spam4me]

Obviously its impossible for some people to get the violations of the laws of physics that have been sold to the public by the mainstream propaganda machine.

what's even more obvious is the only people saying that don't know jack shit about the laws physics..

So you believe that its perfectly ok for the media to show you pix of an airliner that penetrates a steel skyscraper wall, like a hot knife through butter, and you have absolutely no problem with believing that its a real event with a real airliner..... right?

no, why should I....oh that's right, I do know jack shit about physics!
also design and engineering..
the outer walls of the wtc's WERE not structural (meaning they did not hold up the buildings) the glass, aluminium and steel were all relatively light weight you did know tall buildings have weight restrictions depend on what type of soil the foundation is laid in.
i in fact o shit for brains the wtc complex was constructed in a huge pit for just that reason.
the point is, an airliner flying at it's top speed is carrying a shit load kinetic energy, not to mention it's mass. the "wall" you put so much faith in would be like used tissue.

"The World Trade Center towers used high-strength, load-bearing perimeter steel columns called Vierendeel trusses that were spaced closely together to form a strong, rigid wall structure, supporting virtually all lateral loads such as wind loads, and sharing the gravity load with the core columns."

Quoted from Wikipedia, & there are a multitude of sources for INFORMATION about the structure of the WTC towers. No matter how fast the airliner was traveling, the strength of the airliner would have to overcome the strength of the wall or else the airliner would simply break up on striking the wall and there would be airliner wreckage in the street below.

 

[daws101]

Obviously its impossible for some people to get the violations of the laws of physics that have been sold to the public by the mainstream propaganda machine.

what's even more obvious is the only people saying that don't know jack shit about the laws physics..

So you believe that its perfectly ok for the media to show you pix of an airliner that penetrates a steel skyscraper wall, like a hot knife through butter, and you have absolutely no problem with believing that its a real event with a real airliner..... right?

no, why should I....oh that's right, I do know jack shit about physics!
also design and engineering..
the outer walls of the wtc's WERE not structural (meaning they did not hold up the buildings) the glass, aluminium and steel were all relatively light weight you did know tall buildings have weight restrictions depend on what type of soil the foundation is laid in.
i in fact o shit for brains the wtc complex was constructed in a huge pit for just that reason.
the point is, an airliner flying at it's top speed is carrying a shit load kinetic energy, not to mention it's mass. the "wall" you put so much faith in would be like used tissue.

"The World Trade Center towers used high-strength, load-bearing perimeter steel columns called Vierendeel trusses that were spaced closely together to form a strong, rigid wall structure, supporting virtually all lateral loads such as wind loads, and sharing the gravity load with the core columns."

Quoted from Wikipedia, & there are a multitude of sources for INFORMATION about the structure of the WTC towers. No matter how fast the airliner was traveling, the strength of the airliner would have to overcome the strength of the wall or else the airliner would simply break up on striking the wall and there would be airliner wreckage in the street below.

bullshit NOVA Why the Towers Fell NOVA News Minutes - Quicktime PBS

 

[n0spam4me]

Question: does the NOVA documentary "Why The Towers Fell"
address the issue of the alleged airliner crashes?

The physics of this being quite simple
if you can observe a moving object that takes 11 frames of video to travel a known distance and then under rather different conditions, also takes 11 frames of video to tavel the very same distance, it raised questions as to exactly how that may have been done, including the distinct possibility that the video is fake.

 

[daws101]

Question: does the NOVA documentary "Why The Towers Fell"
address the issue of the alleged airliner crashes?

The physics of this being quite simple
if you can observe a moving object that takes 11 frames of video to travel a known distance and then under rather different conditions, also takes 11 frames of video to tavel the very same distance, it raised questions as to exactly how that may have been done, including the distinct possibility that the video is fake.

depending on the type of video recording equipment the frame rate varies .

There are three main frame rate standards in the TV and digital cinema business: 24p, 25p, and 30p. However, there are many variations on these as well as newer emerging standards.

• 24p is a progressive format and is now widely adopted by those planning on transferring a video signal to film. Film and video makers use 24p even if they are not going to transfer their productions to film, simply because of the on-screen "look" of the (low) frame rate, which matches native film. When transferred to NTSC television, the rate is effectively slowed to 23.976 FPS (24×1000÷1001 to be exact), and when transferred to PAL or SECAM it is sped up to 25 FPS. 35 mm movie cameras use a standard exposure rate of 24 FPS, though many cameras offer rates of 23.976 FPS for NTSC television and 25 FPS for PAL/SECAM. The 24 FPS rate became the de facto standard for sound motion pictures in the mid-1920s.[7] Practically all hand-drawn animation is designed to be played at 24 FPS. Actually hand-drawing 24 unique frames per second ("1's") is costly. Even in big budget films, usually hand-draw animation is done shooting on "2's" (one hand-drawn frame is shown twice, so only 12 unique frames per second)[10] and some animation is even drawn on "4's" (one hand-drawn frame is shown four times, so only six unique frames per second).

• 25p is a progressive format and runs 25 progressive frames per second. This frame rate derives from the PAL television standard of 50i (or 50 interlaced fields per second). Film and television companies use this rate in 50 Hz regions for direct compatibility with television field and frame rates. Conversion for 60 Hz countries is enabled by slowing down the media to 24p then converting to 60 Hz systems using pulldown. While 25p captures half the temporal resolution or motion that normal 50i PAL registers, it yields a higher vertical spatial resolution per frame. Like 24p, 25p is often used to achieve "cine"-look, albeit with virtually the same motion artifacts. It is also better suited to progressive-scan output (e.g., on LCD displays, computer monitors and projectors) because the interlacing is absent.

• 30p is a progressive format and produces video at 30 frames per second. Progressive (noninterlaced) scanning mimics a film camera's frame-by-frame image capture. The effects of inter-frame judder are less noticeable than 24p yet retains a cinematic-like appearance. Shooting video in 30p mode gives no interlace artifacts but can introduce judder on image movement and on some camera pans. The widescreen film process Todd-AO used this frame rate in 1954–1956.[11]

• 48p is a progressive format and is currently being trialled in the film industry. At twice the traditional rate of 24p, this frame rate attempts to reduce motion blur and flicker found in films. Director James Cameron stated his intention to film the two sequels to his film Avatar higher than 24 frames per second to add a heightened sense of reality.[12] The first film to be filmed at 48 FPS was The Hobbit: An Unexpected Journey, a decision made by its director Peter Jackson.[13] At a preview screening at CinemaCon, the audience's reaction was mixed after being shown some of the film's footage at 48p, with some arguing that the feel of the footage was too lifelike (thus breaking the suspension of disbelief).[14]

• 50i is an interlaced format and is the standard video field rate per second for PAL and SECAM television.

• 60i is an interlaced format and is the standard video field rate per second for NTSC television (e.g., in the US), whether from a broadcast signal, DVD, or home camcorder. This interlaced field rate was developed separately by Farnsworth and Zworykin in 1934,[15] and was part of the NTSC television standards mandated by the FCC in 1941. When NTSC color was introduced in 1953, the older rate of 60 fields per second was reduced by a factor of 1000/1001 to avoid interference between the chroma subcarrier and the broadcast sound carrier. (Hence the usual designation "29.97 fps" = 30 frames (60 fields)/1.001)

• 50p/60p is a progressive format and is used in high-end HDTV systems. While it is not technically part of the ATSC or DVB broadcast standards yet, reports suggest that higher progressive frame rates will be a feature of the next-generation high-definition television broadcast standards.[16] In Europe, the EBU considers 1080p50 the next step future proof system for TV broadcasts and is encouraging broadcasters to upgrade their equipment for the future.[17]

• 72p is a progressive format and is currently in experimental stages. Major institutions such as Snell have demonstrated 720p72 pictures as a result of earlier analogue experiments, where 768 line television at 75 FPS looked subjectively better than 1150 line 50 FPS progressive pictures with higher shutter speeds available (and a corresponding lower data rate).[18] Modern cameras such as the Red One can use this frame rate to produce slow motion replays at 24 FPS. Douglas Trumbull, who undertook experiments with different frame rates that led to the Showscan film format, found that emotional impact peaked at 72 FPS for viewers.[citation needed] 72 FPS is the maximum rate available in the WMV video file format.

• 120p (120.00 Hz exactly) is a progressive format and is standardized for UHDTV by the ITU-R BT.2020 recommendation. It will be the single global "double-precision" frame rate for UHDTV (instead of using 100 Hz for PAL-based countries and 119.88 Hz for NTSC-based countries).

• 300 FPS, interpolated 300 FPS along with other high frame rates, have been tested by BBC Research for use in sports broadcasts.[19] 300 FPS can be converted to both 50 and 60 FPS transmission formats without major issues.

if shithead you are talking about the pentagon the frame rate was 1 frame per sec. that's a standard for security recording equipment
23 frames = 1 second.
that means that what you are seeing is half of what occurred.
the plane was flying much faster than the recording device was set to capture.
making your speculation specious and desperate.

 

[n0spam4me]

Question: does the NOVA documentary "Why The Towers Fell"
address the issue of the alleged airliner crashes?

The physics of this being quite simple
if you can observe a moving object that takes 11 frames of video to travel a known distance and then under rather different conditions, also takes 11 frames of video to tavel the very same distance, it raised questions as to exactly how that may have been done, including the distinct possibility that the video is fake.

depending on the type of video recording equipment the frame rate varies .

There are three main frame rate standards in the TV and digital cinema business: 24p, 25p, and 30p. However, there are many variations on these as well as newer emerging standards.

• 24p is a progressive format and is now widely adopted by those planning on transferring a video signal to film. Film and video makers use 24p even if they are not going to transfer their productions to film, simply because of the on-screen "look" of the (low) frame rate, which matches native film. When transferred to NTSC television, the rate is effectively slowed to 23.976 FPS (24×1000÷1001 to be exact), and when transferred to PAL or SECAM it is sped up to 25 FPS. 35 mm movie cameras use a standard exposure rate of 24 FPS, though many cameras offer rates of 23.976 FPS for NTSC television and 25 FPS for PAL/SECAM. The 24 FPS rate became the de facto standard for sound motion pictures in the mid-1920s.[7] Practically all hand-drawn animation is designed to be played at 24 FPS. Actually hand-drawing 24 unique frames per second ("1's") is costly. Even in big budget films, usually hand-draw animation is done shooting on "2's" (one hand-drawn frame is shown twice, so only 12 unique frames per second)[10] and some animation is even drawn on "4's" (one hand-drawn frame is shown four times, so only six unique frames per second).

• 25p is a progressive format and runs 25 progressive frames per second. This frame rate derives from the PAL television standard of 50i (or 50 interlaced fields per second). Film and television companies use this rate in 50 Hz regions for direct compatibility with television field and frame rates. Conversion for 60 Hz countries is enabled by slowing down the media to 24p then converting to 60 Hz systems using pulldown. While 25p captures half the temporal resolution or motion that normal 50i PAL registers, it yields a higher vertical spatial resolution per frame. Like 24p, 25p is often used to achieve "cine"-look, albeit with virtually the same motion artifacts. It is also better suited to progressive-scan output (e.g., on LCD displays, computer monitors and projectors) because the interlacing is absent.

• 30p is a progressive format and produces video at 30 frames per second. Progressive (noninterlaced) scanning mimics a film camera's frame-by-frame image capture. The effects of inter-frame judder are less noticeable than 24p yet retains a cinematic-like appearance. Shooting video in 30p mode gives no interlace artifacts but can introduce judder on image movement and on some camera pans. The widescreen film process Todd-AO used this frame rate in 1954–1956.[11]

• 48p is a progressive format and is currently being trialled in the film industry. At twice the traditional rate of 24p, this frame rate attempts to reduce motion blur and flicker found in films. Director James Cameron stated his intention to film the two sequels to his film Avatar higher than 24 frames per second to add a heightened sense of reality.[12] The first film to be filmed at 48 FPS was The Hobbit: An Unexpected Journey, a decision made by its director Peter Jackson.[13] At a preview screening at CinemaCon, the audience's reaction was mixed after being shown some of the film's footage at 48p, with some arguing that the feel of the footage was too lifelike (thus breaking the suspension of disbelief).[14]

• 50i is an interlaced format and is the standard video field rate per second for PAL and SECAM television.

• 60i is an interlaced format and is the standard video field rate per second for NTSC television (e.g., in the US), whether from a broadcast signal, DVD, or home camcorder. This interlaced field rate was developed separately by Farnsworth and Zworykin in 1934,[15] and was part of the NTSC television standards mandated by the FCC in 1941. When NTSC color was introduced in 1953, the older rate of 60 fields per second was reduced by a factor of 1000/1001 to avoid interference between the chroma subcarrier and the broadcast sound carrier. (Hence the usual designation "29.97 fps" = 30 frames (60 fields)/1.001)

• 50p/60p is a progressive format and is used in high-end HDTV systems. While it is not technically part of the ATSC or DVB broadcast standards yet, reports suggest that higher progressive frame rates will be a feature of the next-generation high-definition television broadcast standards.[16] In Europe, the EBU considers 1080p50 the next step future proof system for TV broadcasts and is encouraging broadcasters to upgrade their equipment for the future.[17]

• 72p is a progressive format and is currently in experimental stages. Major institutions such as Snell have demonstrated 720p72 pictures as a result of earlier analogue experiments, where 768 line television at 75 FPS looked subjectively better than 1150 line 50 FPS progressive pictures with higher shutter speeds available (and a corresponding lower data rate).[18] Modern cameras such as the Red One can use this frame rate to produce slow motion replays at 24 FPS. Douglas Trumbull, who undertook experiments with different frame rates that led to the Showscan film format, found that emotional impact peaked at 72 FPS for viewers.[citation needed] 72 FPS is the maximum rate available in the WMV video file format.

• 120p (120.00 Hz exactly) is a progressive format and is standardized for UHDTV by the ITU-R BT.2020 recommendation. It will be the single global "double-precision" frame rate for UHDTV (instead of using 100 Hz for PAL-based countries and 119.88 Hz for NTSC-based countries).

• 300 FPS, interpolated 300 FPS along with other high frame rates, have been tested by BBC Research for use in sports broadcasts.[19] 300 FPS can be converted to both 50 and 60 FPS transmission formats without major issues.

if shithead you are talking about the pentagon the frame rate was 1 frame per sec. that's a standard for security recording equipment
23 frames = 1 second.
that means that what you are seeing is half of what occurred.
the plane was flying much faster than the recording device was set to capture.
making your speculation specious and desperate.

What I was focusing on was the video of "FLT175" allegedly penetrating the south wall of the south tower like a hot knife through butter. No matter what the frame rate, it can be shown that the alleged aircraft penetrated the wall at the same speed that it was seen flying through air, therefore no slow-down at all, how is that possible?

 

[daws101]

Question: does the NOVA documentary "Why The Towers Fell"
address the issue of the alleged airliner crashes?

The physics of this being quite simple
if you can observe a moving object that takes 11 frames of video to travel a known distance and then under rather different conditions, also takes 11 frames of video to tavel the very same distance, it raised questions as to exactly how that may have been done, including the distinct possibility that the video is fake.

depending on the type of video recording equipment the frame rate varies .

There are three main frame rate standards in the TV and digital cinema business: 24p, 25p, and 30p. However, there are many variations on these as well as newer emerging standards.

• 24p is a progressive format and is now widely adopted by those planning on transferring a video signal to film. Film and video makers use 24p even if they are not going to transfer their productions to film, simply because of the on-screen "look" of the (low) frame rate, which matches native film. When transferred to NTSC television, the rate is effectively slowed to 23.976 FPS (24×1000÷1001 to be exact), and when transferred to PAL or SECAM it is sped up to 25 FPS. 35 mm movie cameras use a standard exposure rate of 24 FPS, though many cameras offer rates of 23.976 FPS for NTSC television and 25 FPS for PAL/SECAM. The 24 FPS rate became the de facto standard for sound motion pictures in the mid-1920s.[7] Practically all hand-drawn animation is designed to be played at 24 FPS. Actually hand-drawing 24 unique frames per second ("1's") is costly. Even in big budget films, usually hand-draw animation is done shooting on "2's" (one hand-drawn frame is shown twice, so only 12 unique frames per second)[10] and some animation is even drawn on "4's" (one hand-drawn frame is shown four times, so only six unique frames per second).

• 25p is a progressive format and runs 25 progressive frames per second. This frame rate derives from the PAL television standard of 50i (or 50 interlaced fields per second). Film and television companies use this rate in 50 Hz regions for direct compatibility with television field and frame rates. Conversion for 60 Hz countries is enabled by slowing down the media to 24p then converting to 60 Hz systems using pulldown. While 25p captures half the temporal resolution or motion that normal 50i PAL registers, it yields a higher vertical spatial resolution per frame. Like 24p, 25p is often used to achieve "cine"-look, albeit with virtually the same motion artifacts. It is also better suited to progressive-scan output (e.g., on LCD displays, computer monitors and projectors) because the interlacing is absent.

• 30p is a progressive format and produces video at 30 frames per second. Progressive (noninterlaced) scanning mimics a film camera's frame-by-frame image capture. The effects of inter-frame judder are less noticeable than 24p yet retains a cinematic-like appearance. Shooting video in 30p mode gives no interlace artifacts but can introduce judder on image movement and on some camera pans. The widescreen film process Todd-AO used this frame rate in 1954–1956.[11]

• 48p is a progressive format and is currently being trialled in the film industry. At twice the traditional rate of 24p, this frame rate attempts to reduce motion blur and flicker found in films. Director James Cameron stated his intention to film the two sequels to his film Avatar higher than 24 frames per second to add a heightened sense of reality.[12] The first film to be filmed at 48 FPS was The Hobbit: An Unexpected Journey, a decision made by its director Peter Jackson.[13] At a preview screening at CinemaCon, the audience's reaction was mixed after being shown some of the film's footage at 48p, with some arguing that the feel of the footage was too lifelike (thus breaking the suspension of disbelief).[14]

• 50i is an interlaced format and is the standard video field rate per second for PAL and SECAM television.

• 60i is an interlaced format and is the standard video field rate per second for NTSC television (e.g., in the US), whether from a broadcast signal, DVD, or home camcorder. This interlaced field rate was developed separately by Farnsworth and Zworykin in 1934,[15] and was part of the NTSC television standards mandated by the FCC in 1941. When NTSC color was introduced in 1953, the older rate of 60 fields per second was reduced by a factor of 1000/1001 to avoid interference between the chroma subcarrier and the broadcast sound carrier. (Hence the usual designation "29.97 fps" = 30 frames (60 fields)/1.001)

• 50p/60p is a progressive format and is used in high-end HDTV systems. While it is not technically part of the ATSC or DVB broadcast standards yet, reports suggest that higher progressive frame rates will be a feature of the next-generation high-definition television broadcast standards.[16] In Europe, the EBU considers 1080p50 the next step future proof system for TV broadcasts and is encouraging broadcasters to upgrade their equipment for the future.[17]

• 72p is a progressive format and is currently in experimental stages. Major institutions such as Snell have demonstrated 720p72 pictures as a result of earlier analogue experiments, where 768 line television at 75 FPS looked subjectively better than 1150 line 50 FPS progressive pictures with higher shutter speeds available (and a corresponding lower data rate).[18] Modern cameras such as the Red One can use this frame rate to produce slow motion replays at 24 FPS. Douglas Trumbull, who undertook experiments with different frame rates that led to the Showscan film format, found that emotional impact peaked at 72 FPS for viewers.[citation needed] 72 FPS is the maximum rate available in the WMV video file format.

• 120p (120.00 Hz exactly) is a progressive format and is standardized for UHDTV by the ITU-R BT.2020 recommendation. It will be the single global "double-precision" frame rate for UHDTV (instead of using 100 Hz for PAL-based countries and 119.88 Hz for NTSC-based countries).

• 300 FPS, interpolated 300 FPS along with other high frame rates, have been tested by BBC Research for use in sports broadcasts.[19] 300 FPS can be converted to both 50 and 60 FPS transmission formats without major issues.

if shithead you are talking about the pentagon the frame rate was 1 frame per sec. that's a standard for security recording equipment
23 frames = 1 second.
that means that what you are seeing is half of what occurred.
the plane was flying much faster than the recording device was set to capture.
making your speculation specious and desperate.

What I was focusing on was the video of "FLT175" allegedly penetrating the south wall of the south tower like a hot knife through butter. No matter what the frame rate, it can be shown that the alleged aircraft penetrated the wall at the same speed that it was seen flying through air, therefore no slow-down at all, how is that possible?

kinetic energy ..you seem to believe that someone should have "hit the brakes" just prior to impact.

 

[n0spam4me]

Question: does the NOVA documentary "Why The Towers Fell"
address the issue of the alleged airliner crashes?

The physics of this being quite simple
if you can observe a moving object that takes 11 frames of video to travel a known distance and then under rather different conditions, also takes 11 frames of video to tavel the very same distance, it raised questions as to exactly how that may have been done, including the distinct possibility that the video is fake.

depending on the type of video recording equipment the frame rate varies .

There are three main frame rate standards in the TV and digital cinema business: 24p, 25p, and 30p. However, there are many variations on these as well as newer emerging standards.

• 24p is a progressive format and is now widely adopted by those planning on transferring a video signal to film. Film and video makers use 24p even if they are not going to transfer their productions to film, simply because of the on-screen "look" of the (low) frame rate, which matches native film. When transferred to NTSC television, the rate is effectively slowed to 23.976 FPS (24×1000÷1001 to be exact), and when transferred to PAL or SECAM it is sped up to 25 FPS. 35 mm movie cameras use a standard exposure rate of 24 FPS, though many cameras offer rates of 23.976 FPS for NTSC television and 25 FPS for PAL/SECAM. The 24 FPS rate became the de facto standard for sound motion pictures in the mid-1920s.[7] Practically all hand-drawn animation is designed to be played at 24 FPS. Actually hand-drawing 24 unique frames per second ("1's") is costly. Even in big budget films, usually hand-draw animation is done shooting on "2's" (one hand-drawn frame is shown twice, so only 12 unique frames per second)[10] and some animation is even drawn on "4's" (one hand-drawn frame is shown four times, so only six unique frames per second).

• 25p is a progressive format and runs 25 progressive frames per second. This frame rate derives from the PAL television standard of 50i (or 50 interlaced fields per second). Film and television companies use this rate in 50 Hz regions for direct compatibility with television field and frame rates. Conversion for 60 Hz countries is enabled by slowing down the media to 24p then converting to 60 Hz systems using pulldown. While 25p captures half the temporal resolution or motion that normal 50i PAL registers, it yields a higher vertical spatial resolution per frame. Like 24p, 25p is often used to achieve "cine"-look, albeit with virtually the same motion artifacts. It is also better suited to progressive-scan output (e.g., on LCD displays, computer monitors and projectors) because the interlacing is absent.

• 30p is a progressive format and produces video at 30 frames per second. Progressive (noninterlaced) scanning mimics a film camera's frame-by-frame image capture. The effects of inter-frame judder are less noticeable than 24p yet retains a cinematic-like appearance. Shooting video in 30p mode gives no interlace artifacts but can introduce judder on image movement and on some camera pans. The widescreen film process Todd-AO used this frame rate in 1954–1956.[11]

• 48p is a progressive format and is currently being trialled in the film industry. At twice the traditional rate of 24p, this frame rate attempts to reduce motion blur and flicker found in films. Director James Cameron stated his intention to film the two sequels to his film Avatar higher than 24 frames per second to add a heightened sense of reality.[12] The first film to be filmed at 48 FPS was The Hobbit: An Unexpected Journey, a decision made by its director Peter Jackson.[13] At a preview screening at CinemaCon, the audience's reaction was mixed after being shown some of the film's footage at 48p, with some arguing that the feel of the footage was too lifelike (thus breaking the suspension of disbelief).[14]

• 50i is an interlaced format and is the standard video field rate per second for PAL and SECAM television.

• 60i is an interlaced format and is the standard video field rate per second for NTSC television (e.g., in the US), whether from a broadcast signal, DVD, or home camcorder. This interlaced field rate was developed separately by Farnsworth and Zworykin in 1934,[15] and was part of the NTSC television standards mandated by the FCC in 1941. When NTSC color was introduced in 1953, the older rate of 60 fields per second was reduced by a factor of 1000/1001 to avoid interference between the chroma subcarrier and the broadcast sound carrier. (Hence the usual designation "29.97 fps" = 30 frames (60 fields)/1.001)

• 50p/60p is a progressive format and is used in high-end HDTV systems. While it is not technically part of the ATSC or DVB broadcast standards yet, reports suggest that higher progressive frame rates will be a feature of the next-generation high-definition television broadcast standards.[16] In Europe, the EBU considers 1080p50 the next step future proof system for TV broadcasts and is encouraging broadcasters to upgrade their equipment for the future.[17]

• 72p is a progressive format and is currently in experimental stages. Major institutions such as Snell have demonstrated 720p72 pictures as a result of earlier analogue experiments, where 768 line television at 75 FPS looked subjectively better than 1150 line 50 FPS progressive pictures with higher shutter speeds available (and a corresponding lower data rate).[18] Modern cameras such as the Red One can use this frame rate to produce slow motion replays at 24 FPS. Douglas Trumbull, who undertook experiments with different frame rates that led to the Showscan film format, found that emotional impact peaked at 72 FPS for viewers.[citation needed] 72 FPS is the maximum rate available in the WMV video file format.

• 120p (120.00 Hz exactly) is a progressive format and is standardized for UHDTV by the ITU-R BT.2020 recommendation. It will be the single global "double-precision" frame rate for UHDTV (instead of using 100 Hz for PAL-based countries and 119.88 Hz for NTSC-based countries).

• 300 FPS, interpolated 300 FPS along with other high frame rates, have been tested by BBC Research for use in sports broadcasts.[19] 300 FPS can be converted to both 50 and 60 FPS transmission formats without major issues.

if shithead you are talking about the pentagon the frame rate was 1 frame per sec. that's a standard for security recording equipment
23 frames = 1 second.
that means that what you are seeing is half of what occurred.
the plane was flying much faster than the recording device was set to capture.
making your speculation specious and desperate.

What I was focusing on was the video of "FLT175" allegedly penetrating the south wall of the south tower like a hot knife through butter. No matter what the frame rate, it can be shown that the alleged aircraft penetrated the wall at the same speed that it was seen flying through air, therefore no slow-down at all, how is that possible?

kinetic energy ..you seem to believe that someone should have "hit the brakes" just prior to impact.

The "breaks" being the fact that the airliner was crashing into a wall, deceleration would be a function of the resistance that the wall offered, the no slowing down scenario indicates that the wall offered up zero resistance to penetration, if that is the case, why didn't off-course birds routinely put holes in the side of the WTC?

 

[daws101]

Question: does the NOVA documentary "Why The Towers Fell"
address the issue of the alleged airliner crashes?

The physics of this being quite simple
if you can observe a moving object that takes 11 frames of video to travel a known distance and then under rather different conditions, also takes 11 frames of video to tavel the very same distance, it raised questions as to exactly how that may have been done, including the distinct possibility that the video is fake.

depending on the type of video recording equipment the frame rate varies .

There are three main frame rate standards in the TV and digital cinema business: 24p, 25p, and 30p. However, there are many variations on these as well as newer emerging standards.

• 24p is a progressive format and is now widely adopted by those planning on transferring a video signal to film. Film and video makers use 24p even if they are not going to transfer their productions to film, simply because of the on-screen "look" of the (low) frame rate, which matches native film. When transferred to NTSC television, the rate is effectively slowed to 23.976 FPS (24×1000÷1001 to be exact), and when transferred to PAL or SECAM it is sped up to 25 FPS. 35 mm movie cameras use a standard exposure rate of 24 FPS, though many cameras offer rates of 23.976 FPS for NTSC television and 25 FPS for PAL/SECAM. The 24 FPS rate became the de facto standard for sound motion pictures in the mid-1920s.[7] Practically all hand-drawn animation is designed to be played at 24 FPS. Actually hand-drawing 24 unique frames per second ("1's") is costly. Even in big budget films, usually hand-draw animation is done shooting on "2's" (one hand-drawn frame is shown twice, so only 12 unique frames per second)[10] and some animation is even drawn on "4's" (one hand-drawn frame is shown four times, so only six unique frames per second).

• 25p is a progressive format and runs 25 progressive frames per second. This frame rate derives from the PAL television standard of 50i (or 50 interlaced fields per second). Film and television companies use this rate in 50 Hz regions for direct compatibility with television field and frame rates. Conversion for 60 Hz countries is enabled by slowing down the media to 24p then converting to 60 Hz systems using pulldown. While 25p captures half the temporal resolution or motion that normal 50i PAL registers, it yields a higher vertical spatial resolution per frame. Like 24p, 25p is often used to achieve "cine"-look, albeit with virtually the same motion artifacts. It is also better suited to progressive-scan output (e.g., on LCD displays, computer monitors and projectors) because the interlacing is absent.

• 30p is a progressive format and produces video at 30 frames per second. Progressive (noninterlaced) scanning mimics a film camera's frame-by-frame image capture. The effects of inter-frame judder are less noticeable than 24p yet retains a cinematic-like appearance. Shooting video in 30p mode gives no interlace artifacts but can introduce judder on image movement and on some camera pans. The widescreen film process Todd-AO used this frame rate in 1954–1956.[11]

• 48p is a progressive format and is currently being trialled in the film industry. At twice the traditional rate of 24p, this frame rate attempts to reduce motion blur and flicker found in films. Director James Cameron stated his intention to film the two sequels to his film Avatar higher than 24 frames per second to add a heightened sense of reality.[12] The first film to be filmed at 48 FPS was The Hobbit: An Unexpected Journey, a decision made by its director Peter Jackson.[13] At a preview screening at CinemaCon, the audience's reaction was mixed after being shown some of the film's footage at 48p, with some arguing that the feel of the footage was too lifelike (thus breaking the suspension of disbelief).[14]

• 50i is an interlaced format and is the standard video field rate per second for PAL and SECAM television.

• 60i is an interlaced format and is the standard video field rate per second for NTSC television (e.g., in the US), whether from a broadcast signal, DVD, or home camcorder. This interlaced field rate was developed separately by Farnsworth and Zworykin in 1934,[15] and was part of the NTSC television standards mandated by the FCC in 1941. When NTSC color was introduced in 1953, the older rate of 60 fields per second was reduced by a factor of 1000/1001 to avoid interference between the chroma subcarrier and the broadcast sound carrier. (Hence the usual designation "29.97 fps" = 30 frames (60 fields)/1.001)

• 50p/60p is a progressive format and is used in high-end HDTV systems. While it is not technically part of the ATSC or DVB broadcast standards yet, reports suggest that higher progressive frame rates will be a feature of the next-generation high-definition television broadcast standards.[16] In Europe, the EBU considers 1080p50 the next step future proof system for TV broadcasts and is encouraging broadcasters to upgrade their equipment for the future.[17]

• 72p is a progressive format and is currently in experimental stages. Major institutions such as Snell have demonstrated 720p72 pictures as a result of earlier analogue experiments, where 768 line television at 75 FPS looked subjectively better than 1150 line 50 FPS progressive pictures with higher shutter speeds available (and a corresponding lower data rate).[18] Modern cameras such as the Red One can use this frame rate to produce slow motion replays at 24 FPS. Douglas Trumbull, who undertook experiments with different frame rates that led to the Showscan film format, found that emotional impact peaked at 72 FPS for viewers.[citation needed] 72 FPS is the maximum rate available in the WMV video file format.

• 120p (120.00 Hz exactly) is a progressive format and is standardized for UHDTV by the ITU-R BT.2020 recommendation. It will be the single global "double-precision" frame rate for UHDTV (instead of using 100 Hz for PAL-based countries and 119.88 Hz for NTSC-based countries).

• 300 FPS, interpolated 300 FPS along with other high frame rates, have been tested by BBC Research for use in sports broadcasts.[19] 300 FPS can be converted to both 50 and 60 FPS transmission formats without major issues.

if shithead you are talking about the pentagon the frame rate was 1 frame per sec. that's a standard for security recording equipment
23 frames = 1 second.
that means that what you are seeing is half of what occurred.
the plane was flying much faster than the recording device was set to capture.
making your speculation specious and desperate.

What I was focusing on was the video of "FLT175" allegedly penetrating the south wall of the south tower like a hot knife through butter. No matter what the frame rate, it can be shown that the alleged aircraft penetrated the wall at the same speed that it was seen flying through air, therefore no slow-down at all, how is that possible?

kinetic energy ..you seem to believe that someone should have "hit the brakes" just prior to impact.

The "breaks" being the fact that the airliner was crashing into a wall, deceleration would be a function of the resistance that the wall offered, the no slowing down scenario indicates that the wall offered up zero resistance to penetration, if that is the case, why didn't off-course birds routinely put holes in the side of the WTC?

really? are you this thick or do you have to practice ...the mass of the plane = the load of kinetic energy carried by it easily overcame what small resistance the mostly glass wall provided.
the walls of the wtc towers were not constructed to withstand airliner hits.
however they were more than a match for birds due to the lack of sufficient mass and speed of most any bird.
as far as any one can tell one one was shooting frozen poultry at the towers at better than 500 mph.

 

[n0spam4me]

There is the argument that OH THE PLANE WAS GOING SOOOO FAST!
right and no matter how fast the projectile may be traveling, at such time as it meets up with resistance, its going to slow down. add to this the fact that commercial airliners are NOT missiles and can not be expected to perform as missiles.

"mostly glass wall" REALLY, have you checked the web-sites that have pictures of the WTC under construction? Not to mention the fact that an airliner penetrating the WTC tower wall would have to deal with bits such as floor trusses & decks..... give me a break!

 

[daws101]

There is the argument that OH THE PLANE WAS GOING SOOOO FAST!
right and no matter how fast the projectile may be traveling, at such time as it meets up with resistance, its going to slow down. add to this the fact that commercial airliners are NOT missiles and can not be expected to perform as missiles.

"mostly glass wall" REALLY, have you checked the web-sites that have pictures of the WTC under construction? Not to mention the fact that an airliner penetrating the WTC tower wall would have to deal with bits such as floor trusses & decks..... give me a break!

that not an argument it's a fantasy in support of a false conspiracy..
btw the plane broke floor trusses and decks too
not that you have any clue as to what those are or what they do or what they are rated for.. rolf

 

[n0spam4me]

so what is being promoted here is the allegation that the structure of the WTC tower(s) presented negligible resistance to penetration by a commercial airliner.
and please note, airliners were NOT designed to function like missiles and can not be expected to function as missiles.

 

[n0spam4me]

"I do not have to prove a negative. YOU are making the claim that there was some conspiracy behind this other than the terrorist conspiracy that the official version claims. It is on YOU to prove that. You can't prove your conspiracy theory by poking holes in the official version. You have to prove yours."

Classic, refusal to accept the fact of not only free fall acceleration, but complete & total destruction of WTC 1, 2 & 7 as total proof that the whole operation was a planned event that included the destruction of the towers & 7 from the very beginning.

 

[daws101]

"I do not have to prove a negative. YOU are making the claim that there was some conspiracy behind this other than the terrorist conspiracy that the official version claims. It is on YOU to prove that. You can't prove your conspiracy theory by poking holes in the official version. You have to prove yours."

Classic, refusal to accept the fact of not only free fall acceleration, but complete & total destruction of WTC 1, 2 & 7 as total proof that the whole operation was a planned event that included the destruction of the towers & 7 from the very beginning.

false.. you have no evidence corroborating that beating a dead horse scenario.
The 2.5 sec of freefall to a portion of wtc7's north face is not significant
as to the total destruction of the three structures that's what happens when structures sustain that kind of damage.

 

[n0spam4me]

"I do not have to prove a negative. YOU are making the claim that there was some conspiracy behind this other than the terrorist conspiracy that the official version claims. It is on YOU to prove that. You can't prove your conspiracy theory by poking holes in the official version. You have to prove yours."

Classic, refusal to accept the fact of not only free fall acceleration, but complete & total destruction of WTC 1, 2 & 7 as total proof that the whole operation was a planned event that included the destruction of the towers & 7 from the very beginning.

false.. you have no evidence corroborating that beating a dead horse scenario.
The 2.5 sec of freefall to a portion of wtc7's north face is not significant
as to the total destruction of the three structures that's what happens when structures sustain that kind of damage.

Shocking..... truly shocking, I really wish Don Herbert were here to weigh in on the subject.
the free fall acceleration is VERY significant in that it clearly indicates that there is NO resistance at all under the falling mass.
that is for the whole length of the North & west walls, there would not only have to be the removal of resistance, but that ALL of the resistance would have had to be removed at all the same time. NOW do you see?