(1) Jasa Pembuatan Video Promosi Instagram Youtube Facebook Murah

(1) Jasa Pembuatan Video Promosi Instagram Youtube Facebook Murah. Kami menerima jasa Jasa Pembuatan Video Promosi dan Video Youtube Murah. Video yang buat sesuai permintaan dari Anda. Kami akan membuat vide unik dengan garis besar ada gambar, yang akan dikuatkan dengan tulisan-tulisan efek tangan yang bisa Anda gunakan sebagai video promosi, video presentasi dan video untuk youtube.

Jasa Pembuatan Video Promosi Murah (Facebook, Instagram, Youtube)


Video Apa saja yang bisa kami buat

  1. Video Promosi
  2. Video Presentasi
  3. Video Produk
  4. Video Kesehatan
  5. Video Gadget
  6. Video Berita
  7. Video Artis
  8. dan video-video lainnya


Harga Jasa Pembuatan Video Promosi dan Video Youtube


1 Kali

Rp 100.000
Sekali order 1 Video
Harga Per Video Rp 100.000/per max 2 menit
Hemat (Diskon) –

Diskon RP 50.000 Minim Order 30 Video


3 Bulan

Rp 4.500.000
Langganan 3 Bulan Per Hari 1 Video
Harga Per Video Rp 50.000/per max 2 menit
Hemat (Diskon) Rp 50.000/1 video per hari


1 Tahun

Rp 9.000.000
Langganan 1 Tahun Per Hari 1 Video
Harga Per Video Rp 25.000/per max 2 menit
Hemat (Diskon) Rp 75.000/1 video per hari


Cara Order

  1. Kirim Foto-Foto yang ingin Anda jadikan video, kirim ke alamat email kami atau juga bisa anda upload dulu ke 4shared dll
  2. Sertakan juga konsep video yang Anda inginkan
  3. Bayar Uang Jasa
  4. Dan Akan segera kami kerjakan
  5. Maksimal Pengerjaan adalah 5 Hari Kerja


Hubungi Kami Sekarang Juga

WA : 085729826010
Jam Operasional : 09.00 – 20.00 WIB

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Hubungi Kami Sekarang Juga

WA : 085729826010
Jam Operasional : 09.00 – 20.00 WIB



From Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Video
Video is an electronic medium for the recording, copying, playback, broadcasting, and display of moving visual media.

Video systems vary greatly in the resolution of the display and refresh rate. Video can be carried on a variety of media, including radio broadcast, tapes, DVDs, computer files etc.

Video technology was first developed for mechanical television systems, which were quickly replaced by cathode ray tube (CRT) television systems, but several new technologies for video display devices have since been invented. Video was originally exclusively a live technology. Charles Ginsburg led an Ampex research team developing one of the first practical video tape recorder (VTR). In 1951 the first video tape recorder captured live images from television cameras by converting the camera’s electrical impulses and saving the information onto magnetic video tape.

Video recorders were sold for $50,000 in 1956, and videotapes cost $300 per one-hour reel.[1] However, prices gradually dropped over the years; in 1971, Sony began selling videocassette recorder (VCR) decks and tapes into the consumer market.[2]

The use of digital techniques in video created digital video, which allowed higher quality and, eventually, much lower cost than earlier analog technology. After the invention of the DVD in 1997 and Blu-ray Disc in 2006, sales of videotape and recording equipment plummeted. Advances in computer technology allowed even inexpensive personal computers to capture, store, edit and transmit digital video, further reducing the cost of video production, allowing program-makers and broadcasters to move to tapeless production. The advent of digital broadcasting and the subsequent digital television transition is in the process of relegating analog video to the status of a legacy technology in most parts of the world. As of 2015, with the increasing use of high-resolution video cameras with improved dynamic range and color gamuts, and high-dynamic-range digital intermediate data formats with improved color depth, modern digital video technology is slowly converging with digital film technology.

Number of frames per second
Frame rate, the number of still pictures per unit of time of video, ranges from six or eight frames per second (frame/s) for old mechanical cameras to 120 or more frames per second for new professional cameras. PAL standards (Europe, Asia, Australia, etc.) and SECAM (France, Russia, parts of Africa etc.) specify 25 frame/s, while NTSC standards (USA, Canada, Japan, etc.) specify 29.97 frames.[citation needed] Film is shot at the slower frame rate of 24 frames per second, which slightly complicates the process of transferring a cinematic motion picture to video. The minimum frame rate to achieve a comfortable illusion of a moving image is about sixteen frames per second.[3]

Interlaced vs progressive
Video can be interlaced or progressive. Interlacing was invented as a way to reduce flicker in early mechanical and CRT video displays without increasing the number of complete frames per second, which would have sacrificed image detail to remain within the limitations of a narrow bandwidth. The horizontal scan lines of each complete frame are treated as if numbered consecutively, and captured as two fields: an odd field (upper field) consisting of the odd-numbered lines and an even field (lower field) consisting of the even-numbered lines.

Analog display devices reproduce each frame in the same way, effectively doubling the frame rate as far as perceptible overall flicker is concerned. When the image capture device acquires the fields one at a time, rather than dividing up a complete frame after it is captured, the frame rate for motion is effectively doubled as well, resulting in smoother, more lifelike reproduction (although with halved detail) of rapidly moving parts of the image when viewed on an interlaced CRT display, but the display of such a signal on a progressive scan device is problematic.

NTSC, PAL and SECAM are interlaced formats. Abbreviated video resolution specifications often include an i to indicate interlacing. For example, PAL video format is often specified as 576i50, where 576 indicates the total number of horizontal scan lines, i indicates interlacing, and 50 indicates 50 fields (half-frames) per second.

In progressive scan systems, each refresh period updates all scan lines in each frame in sequence. When displaying a natively progressive broadcast or recorded signal, the result is optimum spatial resolution of both the stationary and moving parts of the image. When displaying a natively interlaced signal, however, overall spatial resolution is degraded by simple line doubling—artifacts such as flickering or “comb” effects in moving parts of the image appear unless special signal processing eliminates them. A procedure known as deinterlacing can optimize the display of an interlaced video signal from an analog, DVD or satellite source on a progressive scan device such as an LCD Television, digital video projector or plasma panel. Deinterlacing cannot, however, produce video quality that is equivalent to true progressive scan source material.

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