This is the first of three articles on concsecutive days that explores the reasons for using 24 fps. As our ability to capture and display much higher framerate that this has blossomed, so has the debate about which number of frames we should show per second. On the face of it, higher framerates should look more real - but in practise, instead of the expected reality, we see cheap-looking TV. 48 fps makes everything look like a soap opera, apparently.
Counter intuitive. Puzzling. What's going on here? Phil Rhodes explores.
Here's another chance to read this article, the content of which seem to get more relevant with each passing day: "Megapixels" doesn't equal "resolution". Not by a long way!
Our series of articles on Framerates was extremely popular and some of you have written to us with your opinions on the subject. Here's what RedShark reader Scott Hooson thinks. While his views may have some of you reaching for your tin-foil hats, Scott's background in experimental pyschology and forensics suggests that we should at least hear what he has to say.
Last time, we looked at why we ended up with 24 frames per second for narrative filmmaking. Having recovered from the shock of realising that it wasn’t actually chosen for any reason to do with the picture at all, it’s worth looking at the fallout of that historical decision and how it affects us today.
If you've read the previous two parts of this analysis of frame rates, you'll be aware that what we're all doing is chasing a standard that wasn't picked for how it looked, on the basis of how that standard compares with something else that also wasn't picked for how it looks. Regardless of how much sense this makes, it does lead to a few regional variances in the way this stuff works, principally involving the interaction of 24fps film with local television standards.
- Friday 22 Jul 2016 - (22271) Is something dramatic about to happen with Final Cut Pro X?
- Saturday 23 Jul 2016 - (16025) One technique to improve your edits
- Friday 15 Jul 2016 - (13054) 8K will absolutely be the new standard for filmmaking
- Saturday 16 Jul 2016 - (11216) Most of us use them, but how does an NLE actually work?
- Monday 18 Jul 2016 - (7196) Working with resolutions above 4K: We interview renowned cinematographer Shane Hurlbut, ASC
- Friday 29 Jul 2016 - (229) The Joy of Parallax (or In Defence of Sliders)
- Thursday 28 Jul 2016 - (623) A high CRI tungsten-balanced LED that won't break the bank
- Thursday 28 Jul 2016 - (681) Why the world’s best movie theatre is often found at IBC in Amsterdam
- Thursday 28 Jul 2016 - (835) All about colour with Apocalypse Now cinematographer Vittorio Storaro
- Wednesday 27 Jul 2016 - (1993) AMD's incredibly fast new Radeon GPU breaks through the 8K barrier