Why is film shot in 24fps




















If you see a high enough number of still images in quick succession, your brain combines them into motion. In the case of nearly all modern movies and scripted TV shows, the standard rate is 24 frames per second fps.

Other TV shows and sports, as well as video games, use higher frame rates of 30, 60 or even fps. Twenty-four fps dates back to the early days of movies with sound nearly a century ago. When you only have 24 frames to work with, any fast motion, including on-screen action or simply the camera panning across a landscape, can blur or seem jerky that is, not smooth.

These are the main reasons many HFR proponents push for higher frame rates. HFR is certainly newer, smooths out pans, and greatly improves resolution with fast motion. Your TV is a bit different. To fit 24 into 60, there's a process called pulldown, which is complex but we've it discussed before. In the UK and Australia it's 50Hz, which does the conversion a bit differently. To make it easier I'm just going to talk about the US numbers, so if your country has 50Hz electricity just read 50 and when I say 60 or High frame rate basically means movies and scripted TV at anything greater than 24fps.

Examples include The Hobbit's 48fps and Gemini Man's fps. It's not a new concept. In the late '70s, Showscan ran big, expensive 70mm film at 60fps, which I'm sure Kodak would have loved to have become the norm. Many new TVs are Hz, or at least claim to be. It varies how they create "frames" per second when the original content is 24, but one of the most common is to use some clever processing to create new frames based on the adjacent frames.

These TV-created frames are placed in between the originals. This can create the so-called soap opera effect , which we'll discuss more in a moment. If this all seems like abstract numbers, check out the video above. It's a great side-by-side comparison between 24fps and Yes, the 60 portion has been converted using frame interpolation aka the soap opera effect , but it's a useful demonstration of the pros and cons we're discussing.

It's the same scene of Data walking across Ten Forward as the camera pans to follow. Notice how the 60fps version, on the left, is far smoother than the 24fps image on the right. That slight "stuttering" as the camera pans in the right image is called judder, and it's one of the more obvious issues with 24fps, and one that's largely eliminated by HFR.

But also notice how different it feels. When I watch this clip the image on the left reminds me of a cheap soap opera or an amateur video. This becomes especially apparent when he talks with O'Brien and La Forge.

Or, as my brain interprets the 60fps portion, the actors Brent Spiner, Colm Meaney and LeVar Burton standing in front of some plastic flowers. That's the problem, and not just mine.

They say HFR is an improvement of the visual medium of film. A logical progression. On the other side are people like me, who think that HFR is, to put it mildly, a horrific abomination that will destroy cinema as we know it. More or less. Let's put aside the "it's new" aspect of the HFR debate. For one thing, it's not, but also just because something is new, doesn't mean it's better.

Let's skip all that nonsense. The minimum frame rate for Virtual Reality systems is 60ps, with many developers aiming for 90 to The inverse of VR is Augmented Reality, when the pictures appear to run loose in the real world. Systems like Magic Leap which has yet to come to market and Microsoft Hololens are bringing the images off the frame and into the real world.

The goal of these augmented reality systems is to create an experience that is indistinguishable from the real world. That some day, very soon, the illusions we used to watch on screens, flickering in the darkness, will run into our living room and tell us that we have an email. In traditional cinema, directors use shot selection , camera movement and editing to determine the pace and focus of each scene.

But all those tools all go out the window to varying degrees when working with VR, which requires minimal cutting and camera movement so as not to disorient your viewer or make them barf. This can be done a variety of ways: blocking and motion, set layout, lighting, audio, etc.

Just remember: since everything in your video will likely need to play out in longer unbroken takes without you on set, pre-production and rehearsal are your best friends.

Leave nothing to chance. Again, consider your project and what it requires. Being precise about your production workflow is critical in VR, as errors made at the top of the chain can cascade down and complicate production in a variety of frustrating ways. After pre-production comes the actual shoot.

Luckily, recent versions of Adobe Premiere are fully equipped for degree video as long as you create your new project file as such. Edit, export and test your cut in an actual VR headset. Repeat the process until satisfied.

Spatialized audio tracks can be created via third-party programs such as this workstation available from Facebook and converted into a standard stereo audio file that can be edited in Premiere. Film Independent promotes unique independent voices, providing a wide variety of resources to help filmmakers create and advance new work.

To support our efforts with a donation, please click here and become a Member of Film Independent here. Why 24 frames per second, why not 23 or 25? Or for that matter, why not 10 or ?

The short answer: Not much, the film speed standard was a hack. You are not a camera. Like I said, how we see things is complicated. So, why 24fps? Each frame rate has a specific use, so it might be helpful to first ask yourself what you want to film and create. If you need something more cinematic, then 24fps is great. If you want to add drama and depth to it, you can include 60fps or fps and play it back in 24fps either 2.

The minimum frame rate for the human mind to perceive motion is 16fps. Different scientists over the years have debated optimum frame rates—with Thomas Edison recommending 46fps.

But in time, film was too expensive to maintain that frame rate and it kept getting reduced until it finally arrived at an industry standard of 24fps. This, since it is slower than the human eye, is what results in this frame rate being more cinematic overall, while 30fps is smoother and feels slightly more true-to-life. These settings are all about compression.

While your specific camera is going to influence to what degree that compression is, the short of it is this: All-I compression is less compressed and creates a higher quality image and a larger file size. IPB is more compressed and creates a lower-quality image and a smaller file size.

What is Frame Rate, and why does it matter?



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