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Thanks for the reply. I really do appreciate it, because coming from the still photography world I've never understood this. Not to be pendantic, but you can't
by eslaught 2y ago
Thanks for the reply. I really do appreciate it, because coming from the still photography world I've never understood this.
Not to be pendantic, but you can't you achieve motion blur by blending frames? That is, shoot at 1/240 and either average or add 10 frames together in an overlapping sequence to get 240 FPS with motion blur that looks like 24 FPS?
I'm only half convinced about lighting. Certainly, if a great deal of light is already required, then running a faster shutter speed means you need more light. That's basic physics. But I've been doing still photography indoors, with horrible lighting, and often I don't need to shoot any slower than 1/90 or so (and often can't, depending on the lens I'm using, since I shoot handheld). Maybe I'm using a larger aperture? Not sure what gives because with modern digital camera bodies, sensors have gotten really, really good.
- dagmx 2y agoBlending frames only works in very few scenarios. It’s not something that scales well to the multitude of things that need to be shot. For example, If something enters the frame, how do you blend backwards without a frame to do so? Frame interpolation and generation ignores the contents of the screen and softens all elements, resulting in the overly mushy results you see on TVs with motion smoothing turned on. Impacts are softer, lip syncs may be off. To your other question, even with your stills camera, you compensate for your higher shutter speed by changing exposure elsewhere. Either you need a wider aperture, but now you’ve set limits on your depth of field, and potential sharpness. This is part of storytelling, for both stills and motion. Or you’ve added more noise by bumping sensitivity. Which people don’t notice as much on a still, but do with subsequent frames when noise isn’t spatially and temporally stable. You’re also not driving your sensor for extended periods of time with stills where that heat buildup of extra sensitivity can matter. Or you need more light. The camera is one of the most emotional parts of a film. Yes you can do all these other things, but by doing that you place hard limits on the story the camera itself tells.