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Agree. Assuming the lukewarm reception of HFR for "The Hobbit" hasn't consigned us to another decade or so of 24fps, I am hopeful that the right director and ci

Agree. Assuming the lukewarm reception of HFR for "The Hobbit" hasn't consigned us to another decade or so of 24fps, I am hopeful that the right director and cinematographer will eventually come along and exploit its aesthetic possibilities. Imagine if "The Matrix" had been shot with the simulations in HFR and the real world in 24fps. Or if Kubrick had a chance to essentially invert the gauzy, candle-lit settings of "Barry Lyndon" and present a world in 8K hyper-reality.

tigeba 12y ago
Just riffing on your Matrix example, the now 'classic' example of using a temporal shift to aid story telling is the use of 45 or 90 degree shutter in "Saving Private Ryan" during combat scenes. Changing the shutter angle on a motion film camera is analogous to changing the shutter speed, in this case opting for a faster shutter during the action sequences. This reduces motion blur the same way shooting at a higher frame rate would, albeit keeping the 24p.
modfodder 12y ago
While not a fan of The Hobbit's use of HFR (I thought it worked well in mostly CGI action scenes and not at all everywhere else), I too am waiting for someone to use it in the right context. I don't think Barry Lyndon would work, period pieces for the most part I believe work better at 24. But The Matrix very well might. With The Matrix it might work best if it was a mix of HFR and 24. HFR when they are in the matrix and 24 when they are out (of course that brings another set of problems in projecting mixed frame rates in the same movie). HFR I believe would work really well in sci-fi that is meant to look and feel a bit sterile (think THX1138, The Island, etc.). Or in heavily CGI scenes. The big problem with The Hobbit, since it is the first, there is still a bit of working out the kinks and bugs (lighting to me was a big issue in the first HFR film). Give it time and it might prove an indispensable creative tool.

tigeba 12y ago

Just riffing on your Matrix example, the now 'classic' example of using a temporal shift to aid story telling is the use of 45 or 90 degree shutter in "Saving Private Ryan" during combat scenes. Changing the shutter angle on a motion film camera is analogous to changing the shutter speed, in this case opting for a faster shutter during the action sequences. This reduces motion blur the same way shooting at a higher frame rate would, albeit keeping the 24p.

modfodder 12y ago

While not a fan of The Hobbit's use of HFR (I thought it worked well in mostly CGI action scenes and not at all everywhere else), I too am waiting for someone to use it in the right context. I don't think Barry Lyndon would work, period pieces for the most part I believe work better at 24. But The Matrix very well might. With The Matrix it might work best if it was a mix of HFR and 24. HFR when they are in the matrix and 24 when they are out (of course that brings another set of problems in projecting mixed frame rates in the same movie). HFR I believe would work really well in sci-fi that is meant to look and feel a bit sterile (think THX1138, The Island, etc.). Or in heavily CGI scenes. The big problem with The Hobbit, since it is the first, there is still a bit of working out the kinks and bugs (lighting to me was a big issue in the first HFR film). Give it time and it might prove an indispensable creative tool.