tio significantly increases the amount of image content conveyed to the viewer. 6 http://www.clarityvisual.com/. Content- and Entertainment-Centric Software The example in Figure 9.1 is applied to benchmarking quality in larger display systems but the same rule set applies to smaller displays. These performance metrics are important because they define the real-world experience of the user - a better quality image makes for a more immersive experience, the more immersive the experience, the longer a session will last and the more valuable it should be. 9.2.3 Frame-Rate Expectations Six years ago the Samsung V770 produced 15 or 30 frames per second. 30 frames per second would normally be considered adequate for video (cinema film runs at 24 fps, PAL at 50 and NTSCC at 30 fps) but a number of streaming applications in 3G networks were being trailed in 2005 at 35 fps (the faster frame rate hides some of the quality issues). Some of the higher-tier camcorders could even then shoot at 240 frames per second. Camera phones have therefore not destroyed the compact camera, digital SLR or camcorder - these product sectors all remain alive and well partly due to continuous innovation and the pull-through effect of big-screen HDTV. All of these products have had an impact on memory footprint and memory technologies. 9.2.4 Memory Expectations Over Time Six years ago the Samsung V770 had 32 MB of internal memory and an MMC Micro card slot. The Canon Camcorder had 11 GB of memory on its DV cassette plus 8 Mb on the SD card. The Hitachi camcorder had 9.4 GB of memory available on the DVD plus the SD card. Both the tape and DVD formats were capable of storing half an hour of DV quality video and audio. Memory Options 9.3.1 Tape storage is rapidly becoming a historical curiosity, but back in 2005 it was a relatively mainstream option for camcorders. The Mini DV tape usually used had a number of advan- tages - relatively reliable and robust and low cost, less than 4 dollars for 11 GB of storage. There was, however, a mechanical pro