Why are movies rarely shot and played in 60 frames?

Let's take a look at science first. For the audience, brightness, clarity and fluency are the three most intuitive criteria for the audience to measure whether a film is technically excellent or not. In the industry, the 6FL certification of 3D movie projection launched by RealD Company is aimed at brightness; The 2K and 4K standards that everyone often hears are aimed at clarity; At present, 24 frames, 60 frames and 120 frames all aim at fluency.

Brightness and clarity are intuitive, so what does fluency mean? What is the so-called "framework"? Is it "Zhen Zi"? Simply put, we think that movies are "moving" because human beings have the phenomenon of visual persistence. In movie terminology, still images are called "frames" or "grids". In order to make people feel that an image is moving continuously and smoothly, at least 24 continuous shooting pictures should be played continuously every second, so there is the current international standard of 24 frames. Obviously, no matter which standard, the higher the number of frames, the clearer the film, the more details the audience can see and the better the viewing effect.

Usually, the videos we watch are ordinary 24 frames per second, while high-end movies usually use 48 frames, and even less 60 frames.

As can be seen from the above figure, 24W virtual card, 24 frames have been very smooth but slightly shaky, and 60 frames are very smooth and clear.

There is only one sentence: it is an "unparalleled surreal experience". But because there are too few cinemas supporting this great technology, there is generally no chance to experience it! If 24 frames belong to the "entry" level, then 60 frames will also be a "qualitative leap".

After comparing the 24-frame and 60-frame films, many viewers still said that there are many differences, mainly in these aspects. A 60-frame movie is smoother because it displays twice as many pictures per second as a 24-frame movie. At the same time, it enriches the details of the film, and the small details that are usually ignored will be clearly presented. In addition, the 60-frame format makes people in movies more stereoscopic, especially close-ups. Generally speaking, the 60-frame film has more details, more three-dimensional sense and clearer moving objects. After watching the movie, most fans have a new understanding of immersive 3D movies. High-definition, real 3D images will give people a deep sense of substitution. Some fans even said, "This is the best 3D I have ever seen. Well done! I feel like I am at the scene of the movie. " Others vividly compared: "If a 24-frame 3D movie is like looking out through a window, then a 60-frame 3D movie is like taking off the glass and looking straight out.

I believe it is only a matter of time to say why it has not been popularized so far, and the cost is a very important reason. After all, in the original 24-frame film, the film used after 60 frames has more than doubled, and the rendering time has also doubled in the post-production rendering special effects. Screening equipment should also be updated. Ordinary cinemas have no equipment that can meet the playback specifications of 3D, 4K and 60fps at the same time. If we want to face the general public, we must make subversive changes to the whole film industry.

Everyone is familiar with 3D, and the playback equipment with 4K resolution is gradually applied. The iPhone 6s has been able to shoot 4K video. Finally, this 120fps is the highlight of Ang Lee's adventure, which has increased the frame rate of film shooting by four times. If the final effect of this film is satisfactory, the technological innovation brought by Ang Lee is comparable to Avatar in the 3D film.

120 frames/second may become the next keyword of the movie like VR. From 24 to 120, how did the film shooting frame rate evolve step by step? In fact, there was no standard for early film shooting, because hand-held photographic equipment was used at that time, so it was inevitable that the shooting speed was not uniform and the frame rate was very different. For example, Edison's films were shot at 40 frames per second, while Lumiere's films were shot at 65,438+06 frames per second.

Later, it developed into a sound film and introduced synchronous recording technology, so that sound and pictures can be recorded on film at the same time. 24 frames per second can maintain the highest sound clarity. If it is lower, there will be too much surface noise on the audio track, so 24 frames per second becomes the standard of film shooting frame rate.

Movies shot at more than 24 frames per second are called "super-high-frame" movies, and many movies try to shoot at super-high frames: Panorama movie (also called Silamar) was born at 1950. This film uses three cameras to shoot three squares of material, and then three projectors are seamlessly spliced and projected on the screen to produce an image with three times the aspect ratio. The film consists of 26 frames.

1992 At the Serbia World Expo, Momentum, the first film shot with IMAX HD technology, was shot at a speed of 48 frames per second. Maxivision 48 technology was born in 1999, which is a negative format combining 48 frames per second and 35mm film. Movies can be shown at a speed of 48 frames per second, and people in the industry have become popular. However, most cinemas still use 24 frames/second projection equipment, so Maxivision has not been widely used.

Showscan visual effects studio under Douglas Trumbull (special effects director of A Space Walk in 20065438+0, Star Wars and blade runner) is trying to promote high frame rate (60 frames per second) combined with 70mm shooting technology (you can watch this video to introduce Showscan digital in Douglas Trumbull if you can surf the Internet scientifically), but so far, Showscan is still on paper.

Douglas advocates high frame rate shooting because: "Theoretically, this extreme frame rate will make the dynamic picture smoother, solve the problem of stroboscopic or jitter during the camera swing, and bring more comfortable 3D and unparalleled sharpness and realism. But this is still only a theory, because no one has seen the film made with this technology. Even if these are perfectly realized, there is almost no place in the world that the audience can appreciate. "

20 1 1, Cameron announced that his Avatar 2 will cooperate with Showscan to shoot with their 60 frames per second technology. 20 12 Peter Jackson's "The Hobbit: An Unexpected Journey" took the lead in shooting, with 48 frames per second, and the latter two Hobbits also shot at 48 frames per second. For a time, the industry was mixed. Critics think this painting is too clear, but it is like a game or the texture of an oil painting. Without the fuzzy and stroboscopic effects of traditional movies, the aesthetic feeling of movies is lost (not all theaters can show at 48fps, so there are two versions when showing, 24fps and 48fps. If you don't feel this way, it's probably because the cinemas didn't use 48fps at that time.

In this regard, Peter the Great said, "(you ignorant mortals) wait until you get used to it." Ang Lee's image format is officially called "Immersive Digital" by Sony (there is no official name at present, but it is translated as "immersive digital"), which is the first time to combine the specifications of 3D, 4K and 120 frames/second.

The biggest problem facing 120 frames/second is the habit of watching movies. For example, when 3D technology was just popularized, there were complaints that the picture was too dark and dizzy. Ang Lee has a bigger problem to solve than Peter Jackson. 48 frames/sec is uncomfortable, and the viewing experience brought by 120 frames/sec is absolutely subversive.

However, Ang Lee was inspired not by Peter Jackson, but by Cameron. When he was filming Pi, he asked Cameron and others about 3D technology. Everyone told him that shooting 3D at the speed of 24 frames per second would increase the original strobe (that is, the reason why he felt dizzy when watching 3D), but there was no better technical solution at that time, so he had to compromise.

Later, Cameron announced that he would shoot Avatar 2 at a high frame rate, which inspired Ang Lee, but he still felt that it was not enough. So he thought of using 4K technology to solve the definition problem, and finally chose 120 frames/sec, in fact, to save money-120 frames/sec is exactly 24 frames/sec (for movies) and 30 frames/sec (for TV). And Ang Lee thinks that "no war at half-time" is the best chance, because-

"The focus of this film is" feeling ",not just telling stories, but trying to make the audience experience and give them a brand-new experience." Ang Lee's original intention of accepting 3D technology is not to show off his technology. He is completely opposite to many directors and production companies that use 3D technology. Even our ordinary audience think that big-screen action movies like Avatar and Marvel Comics should use 3D, while narrative movies like Founding the People's Republic of China use 3D without rhyme or reason, while Ang Lee thinks:

"The biggest difference between 2D and 3D is facial shooting, not action or big scenes. I think 2D is more suitable for action movies, while 3D is more suitable for drama movies, because 3D can create a more intimate feeling. "

So he used different techniques to deal with two different main scenes, the Iraq battlefield and the halftime performance. The battlefield scene will present "real" shots as much as possible, that is, shooting at the speed of 120 frames per second. As you can see in the trailer, there is almost no shaking feeling in the camera during the actor's running.

However, the scene of the intermission performance is in the stadium, with a lot of stage lights. In order to avoid the effect that the background is too blurred, only some shots (such as unlit audience) are shot at the speed of 120 frames per second. As can be seen from the trailer, there are many close-ups of Billy's face, focusing on his expressions and emotions, because the fuzzy background is very suitable for close-ups of big heads, and most of the shots in the intermission performance are panoramic.

After watching the clip of 1 1 minute, (Showscan mentioned above) Douglas said, "There is a feeling of being there. It seems that he (Ang Lee) will bring us an unprecedented viewing experience, and I am almost excited. "

After reading it, Cameron thinks that 3D, 4K, 120 frames per second will become the highest standard in the industry. Some viewers commented that "this 1 1 minute movie made me feel that the lens and curtain disappeared, and I saw the most realistic picture." In fact, the bigger problem of 120 frames/second is filtering. Even Ang Lee himself couldn't see the final effect in the filming process, because the technical burden was too great, and he could only play it in 3D, 2K and 60 frames/second when shooting on the set.

Previously, the 1 1 minute screening in LA used CTV's dual 4K laser projectors and Winkon's 7sense Delta Infinity III server, equipped with Dolby 3D glasses, and was aimed at NAB's industry technicians at that time. No one knew more about it than them, so most of them were amazed and praised.

But if we want to face the general public, Ang Lee should be prepared to face the subversive changes in the whole film industry. At present, there is no equipment in ordinary cinemas to meet the playback specifications of 3D, 4K and 120fps at the same time, and the reaction and acceptance of ordinary audiences are unpredictable. So far, Sony has not announced how the film will be released on a large scale. In order to accompany Ang Lee on the adventure, Sony tried its best, even considered pre-screening, but in the end, in order to release it on a large scale, they might only reduce the standard to at least 60 frames per second and replace 4K with 2K.

Ang Lee, like Cameron and Douglas, stood in the vanguard, hoping that through this revolution, watching movies in the cinema would become a pilgrimage experience again, an experience that computers and mobile phones can't match. If people can re-enter cinemas, it will be worthwhile to replace all cinemas in the world with new projection equipment.

"It is very difficult to change people's habits and subvert a culture. I'm really curious, but I'm not young anymore. I don't want to wait any longer. " When he filmed Brokeback Mountain, many people advised his actors that filming this play would ruin their careers. As a result, four of his actors were nominated for three Oscars. When he filmed "The Fantasy Drifting of Pi", everyone said that the novel was too difficult to shoot, which was self-inflicted, and then he got the second golden statuette.

Now, almost no one says "impossible" to Ang Lee. For "No War at Midfield", we'd like to borrow the name of the movie "The Good Play Is yet to Come": "Vous n 'avez encore rienvu", and we'll wait and see.

I am Xiao Fei, and I will answer this question. 60 frames is really rare.

The film is shown in the cinema. Give an example before answering the question.

It is said that the great director Cameron also vigorously promoted the 60-frame shooting standard of the film. In his own words, a higher number of frames can bring better 3D effects. Audiences prefer to watch.

I believe popularization is only a matter of time. In fact, cost is a very important reason. After all, the original 24-frame film will use twice as much film after 60 frames, and the rendering time will be doubled when the special effects are produced and rendered later. Projection equipment should also be upgraded, which is also the reason that hinders the new format.

Another reason may be that many directors are unwilling to risk 60 frames, because it is said that too high a frame rate will make them feel too live, but they will lose the feeling of watching movies in the cinema.

It's easy for the audience to see how fake the scene is under high frame, because high frame can avoid the blur caused by motion, especially in 3D, which means that the audience can clearly see the details of fast moving objects. At the same time, you can clearly see the details of the actor's makeup. Needless to say, experience.

Shooting a movie with high frame rate is not a matter of changing the lens, because high frame rate brings rich details, and shooting, lighting, makeup, performance and other links have to be explored again. In the later stage, there are almost three times as many materials as 24 frames. If the crew members work harder, the production cost will certainly increase.

After the number of frames taken increases, then new problems come. It is not enough to have high-speed shooting equipment, but also high-speed playback equipment. For movies with high frames, cinemas also need to update their equipment. For shooting at 60 frames per second, it needs to be played at 60 frames per second, otherwise it can't be played normally on a 24-frame device, and the equipment cost is quite high.

To sum up, all the cost increases will be reflected in the ticket price. For the fluency of these movies, you will spend more money on tickets.

There is also a conspiracy theorist who thinks that high frame rate movies are actually made by an opportunistic director and a group of accomplices with very low moral standards, which harms others and does not benefit themselves. what do you think?

Because at present, most cinemas in the world have 30 frames, and there are very few 60 frames. 150 frame players are only those big theaters in the United States, and the frame is also called refresh rate. Why are there so few cinemas showing 60-frame and 120-frame movies?

First, it is very common to shoot and play movies in 30 frames all over the world. Just like a Windows computer, you have a better computer operating system, but the market has been occupied by Windows. It takes a long time to replace it, and the cost of shooting 60 frames is also expensive. The 60-frame movie you shot can't reach the 60-frame effect in most theaters around the world. This is an embarrassing question.

Secondly, the advantage of 60-frame movies is that the pictures are better and smoother, but most people have never been exposed to 60-frame movies, or they simply can't tell the difference between them. The refresh rate that human eyes can distinguish is between 200-300, and the higher the frame of 30-60- 120, the greater the workload of human eyes, and the longer they watch it, the greater the sense of fatigue.

Third, the Internet penetration rate. If there are few 60-frame movies in cinemas and relatively few movie resources on the Internet, the public will know even less. If a TV manufacturer produces a TV with a high refresh rate, the public will not pay the bill.

To sum up, 30-frame movies and 60-frame movies are just like the beggar version and the high-end version of the car. One is enough, and one is experience.

I'm the boss of the film and television commune, and I'm glad to answer your question. Let me express my views on your question. According to some insiders, the first is technical problems. There is no full-film frame patching operation in the film industry. Let's assume there is. How do we fix the framework? Do you think you can open an AE, install a Twixtor on your computer like ordinary people, and adjust the parameters casually? Definitely not. Almost every link in the film industry is completely different from the daily contact of ordinary photographers. Scripts can't be started casually, photography can't be started by pressing the start button, editing can't be started by importing the material into the software, and color matching and special effects can't be directly added with xml. If there is a supplementary frame link in the film industry, it must be a very complicated process and technology. Moreover, the technology of frame patching depends on computer software (the specific principles of different methods are different), and the level of frame patching software at present is far from the level of the film industry (what is said here is the "industry level" rather than the "professional level" that is generally considered).

Even amateurs will choose shots that are suitable for framing and those that are not. Some shots are just not suitable for frame patching, or they are just a lump of flower screen jelly. No matter how powerful the "frame patcher" is, it is impossible for the film industry to allow the low-level problem of "frame patcher" jelly to appear. Even if the crew doesn't pay attention to it or care, it will definitely fail the film review.

Secondly, it is cost. As mentioned above, if you want to join the film industry, it will definitely be a very complicated process. You must have a professional "framer" to operate it. Even if the technology is up to standard, how much does it cost to make up thousands of shots in a movie in a few hundred minutes? How much manpower? How much time? Moreover, not only the operation of adding frames costs money, but also the later rendering costs money. Not only does rendering cost money, but the workload of color matching and special effects also needs to increase. When 24 frames are added to 60 frames, the cost is doubled. The sum of this money will never be less than color matching and special effects. Therefore, the topic "this operating cost is extremely low" is a hypothetical conclusion, which does not hold water at all. With this spare money, why don't I just shoot 60 frames? It's too expensive, so directors follow the principle of watching and do what they can.

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Your question has been answered. thank you

There are probably several reasons why 60 frames are rarely filmed.

60 frames of film are smoother and clearer. But some people can't adapt to it physically, and they will feel dizzy after watching it for a long time.

The main reason is the high cost. Ordinary 24-frame movies only have 24 movies per second, while 60-frame movies have 60 movies per second, which requires higher equipment for producers and greatly prolongs the production time. If it is a science fiction movie, the special effects are very expensive. The special effects of 60 frames are more than twice that of 24 frames, and the cost is rising, which is also the biggest reason that hinders the popularization of 60-frame movies.

Thank you. I hope I can help you ~

Hello, I'm Lao Xu. 60-frame movies are rare, because the cost from shooting to later stage is relatively high.

Under certain conditions, increasing the video bit rate can improve the visual effect of image quality, and the number of frames can be increased to more than 60, especially the bit rate of image quality of 25/30 frames needs to be increased by at least 2 times. Is YouTube's 60-frame bit rate twice as high? Will 4k25 frame and 1080p60 frame be chosen? At present, 60 multi-screen144,240 multi-screen color Δ e is cost-effective, considering the increase of frame number after the image quality rises to a certain level.

Reference art speed limit

4k 5966 kbps 3840 x 2 160 25 fps

1080 p 2327 kbps 1920 x 1080 25 fps

720 p 1247 kbps 1280 x 72025 fps

Hd 590 kbps 896 x 504 25 fps.

Smooth 330kbps 640x6025fps

This is the data of 20 18 and 12. To upgrade to 60 frames, it takes nearly twice the image quality speed to some extent. 5g can also increase the frame rate of Internet video to 60. The 72 frames of data you are looking at are scores again, and the frame rate makes visual perception much slower. VR video stays in VR, with higher frame number, higher game and pursuit of frame rate. Meet the minimum frame rate requirements, pursue the next image quality and pursue the frame rate. Now flat video and games have begun to meet the minimum frame rate requirements, requiring image quality, while VR has not yet reached the minimum frame rate requirements.

First, the number of pictures taken per second is different;

60 shots at 60 frames per second, 30 shots at 30 frames per second.

Second, the picture fluency is the same;

60 frames per second. The higher the number of frames, the smoother the picture. Every frame is a still image, and the illusion of motion is formed by displaying frames quickly and continuously, so a higher frame rate can get smoother and more realistic animation.

Third, the memory size is different at the same time.

The higher the frame rate (fps), the smoother the displayed motion and the larger the file. When shooting video, the video memory of 60 frames per second is greater than that of 30 frames per second.

Because the human eye can generally feel the smooth effect in 24 or 25 frames, although 60 frames are smoother, the human eye will feel very tired after watching for a long time, because 60 frames exceed the processing speed of the human eye, which is why watching 60 frames of video is smooth, but it feels fake. I hope I can give you a compliment and attention. I share digital reviews every day. Welcome to the home page.