Scott joins Leo to talk about how movies are now far too realistic looking thanks to ultra high definition and higher frame rates. The result is that the dreamlike quality of cinema is disappearing. Leo doesn't like it. Scott does. Scott says it's because we've been used to 100 years of 24 frames per second, and now filmmakers are shooting at 60 fps and above. Scott says that people will eventually get used to it. The next generation certainly well. And eventually, it will become the norm.
high frame rate
Scott went and saw Gemini Man this week and said the film was shot at 120 fps, five times more than traditional cinematic frame rates. This made the film very sharp and detailed, something that not everyone likes, but Scott does. Ang Lee also shot it in pure 3D at 4K resolution. The irony is, there are no theaters in the US that can show 4K 3D at 120p. So you have to decide what you want. 3D. 4K. or 120p (2K). Scott says to see it in 120p if you can. There are 14 theaters around the country showing that option.
Next week, Scott is going to see Ang Lee's new movie Gemini Man, starring Will Smith. It's salient because Lee has shot it at 120 fps 3D and in IMAX. High frame rate has also created a debate in the film community about just how realistic an image should look and still be considered "cinema." It's also shot in 3D, which Scott says hasn't really been popular lately. Then on top of that, Will Smith is battling a younger version of himself, where the actor was de-aged. He'll join Leo next week with his review.
Leo finally got to see Billy Lynn's Long Halftime Walk, directed by Ang Lee. Shown at 120 fps, Leo says it was almost like a stage play. But the problem with it is that because it was shot at such a high frame rate, the actors looked wooden, and because they used very little makeup, you see them how they really look. It's disconcerting, and Leo doesn't think it worked. Scott, though, disagrees and thinks it's an experiment that pushes the boundaries of what we are used to in cinema. Scott says we also have 100 years of watching movies at 24 fps.
Scott saw Billy Lynn's Long Halftime Walk, directed by Ang Lee, which was shot in 3D HFR at 120fps. The problem with shooting at that high frame rate is that few theaters can display it. Scott says that Lee is trying to push the boundaries of cinema with a new visual language that breaks the barriers up by 24 fps to save film stock. The problem is there's few projectors that can handle that amount of data. Scott says it's gorgeous, and very compelling. Shooting at that frame rate also meant not being able to wear makeup. Required more of a method acting technique, and more.
Scott is back from NAB and he went early to attend the "Future of Cinema" conference. He saw a film by Ang Lee that was shot in native 3D on a pair of Sony F65 Cinema Cameras at 120fps. 5 times more than standard 24p. Scott says that for showcasing the film in conventional theaters at 120 fps, they will have to project it in 2K. Some say it looks like video, not a movie. But Scott says that's because we're so used to the way it's looked for the last 100 years. Now that we have better technology, we should keep moving forward. And theaters can always down shift the frame rate.
Jack is starting a Kickstarter page where he's selling his drone footage. He's having trouble rendering 1080p HD videos at 60 fps. Leo says it's the 60 fps that's catching him up. But 60 fps is the future. Leo says that it comes down to the computer, and the software should be able to handle 60fps. Adobe Premiere Elements should be able to, as does Sony Vegas.
Scott is heading to NAB this week to see what the professionals are doing with 4K. Scott is interested because it will largely impact the standards of ultra high definition moving forward, and that will greatly drive the consumer market. But how will content be graded by pros to take advantage of the new standard? That hasn't been determined yet and Scott will see where it's going at NAB. There's also trends in high dynamic range and color gamut, which are going to provide a broader range of colors with ultra high definition.