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From 24 to 48 the race begins

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From 24 to 48 the race begins

Postby sidd finch » Mon Jan 23, 2012 3:41 pm

http://news.yahoo.com/jacksons-hobbit-d ... 03308.html

Digital cameras allow for shooting at 48 frames or faster, reducing the blurry effect known as strobing that can come with 24-frame filming.

"You shoot at 48, project at 48 and you get an illusion of life that's remarkable. You don't realize just how strobing and how flickery 24 frames is," Jackson said at the Sundance Film Festival, "You look at something at 48 frames, and it looks gorgeous. It looks like real life. It's amazing."

Produce Peter Jackson (Lord of the Rings) said he hopes there will be a fair number of theaters equipped with digital projectors that can handle the faster film speeds by December, when Warner Bros. will release "The Hobbit: An Unexpected Journey," the first chapter in his two-part adaptation of J.R.R. Tolkien's fantasy classic.

Other digital pioneers are making the same push for higher film speeds. "Avatar" creator James Cameron has said he will shoot the sequel to his science-fiction blockbuster at 48 or 60 frames a second.
"Life moves pretty fast. If you don't stop and look around once in a while, you could miss it." ..... Ferris Bueller
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Re: From 24 to 48 the race begins

Postby Dave McElderry » Mon Jan 23, 2012 4:31 pm

We'll be there. This will be one of the few movies that I'm willing to go to the theater to see. I'd be very interested in seeing what 48 looks like in the theater. I'm usually skeptical about things like this being hype, but I kind of suspect that it may be true in this case.
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Re: From 24 to 48 the race begins

Postby TreeTopsRanch » Mon Jan 23, 2012 4:32 pm

"he hopes there will be a fair number of theaters equipped with digital projectors"

My take on those digital projectors, at least here in Eugene, Oregon, is that they are too dim. I watched one of the digital projected star wars sequels and it was dismal. Way too dim.

The film projectors use a electric arc to produce the light required to project a picture several hundred feet from the projector to the screen.

Am I wrong here? Has anyone else here experienced a digital film projection in a movie theater?
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Re: From 24 to 48 the race begins

Postby Bobby » Mon Jan 23, 2012 5:16 pm

We don't go to the movies at all any more, and the primary reason is dim screens. My wife took the grandkids to see 3D Avatar and she complained about the dim screen - almost impossible to watch.

I would rather sit back in my easy chair in front of my plasma TV (I am a plasma bigot) and it is so nice and bright.
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Re: From 24 to 48 the race begins

Postby Dave McElderry » Mon Jan 23, 2012 5:47 pm

Wow, now you guys have me wondering if I want to see this in 48 after all. I'll stick with an old fashioned 24 fps arc projector if that's the case. i'm with you Bobby - plasma is good.
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Re: From 24 to 48 the race begins

Postby sidd finch » Mon Jan 23, 2012 5:57 pm

looks like the dim theather is because of an improper lens and not arc lighting.From the bostoon globe.

If you find yourself squinting at the theater, it might not be because of the standard plot holes and hacky exposition. It could be the lens of the projector. The Boston Globe reports on an unfortunate trend in some big movie chains where rather than swap out the 3-D lens when showing a 2-D moving, they leave it in place. The result can be an almost 85% darker projection, and should have audiences throwing popcorn at the screen. So how do you detect if they're showing the movie improperly, while still charging you full ticket price?

Well the first big clue is if the movie is really really dark. Then, in theaters where they use the Sony 3-D projectors, if you're watching a 2-D movie and they haven't changed the lens, you can look back to the booth. If you see two beams of light coming out, one on top of the other, that's a Sony with the 3-D lens.

To save time and money, some projectionists simply aren't swapping out the lenses. It requires entering extra passwords to open the projector and some theaters, in the rush to turn over as many theaters as quickly as possible, simply leave the 3-D lens in place.

So if you see that you're getting "shafted," complain to the manager and ask for it to be fixed or your money back. Or patronize a smaller movie house instead of the multiplex, where there's less of a cattle call mentality towards the patrons.

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Re: From 24 to 48 the race begins

Postby Dave McElderry » Mon Jan 23, 2012 6:09 pm

Well that would explain a lot! :shock:
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Re: From 24 to 48 the race begins

Postby Bob » Mon Jan 23, 2012 6:52 pm

...You don't realize just how strobing and how flickery 24 frames is...


I have to chuckle at that when I think of all the people shooting digital at 24 fps trying to emulate that strobing flickery "cinematic" feel.
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Re: From 24 to 48 the race begins

Postby momoffduty » Mon Jan 23, 2012 8:32 pm

Bob wrote:I have to chuckle at that when I think of all the people shooting digital at 24 fps trying to emulate that strobing flickery "cinematic" feel.


Like the dichotomy of not wanting a vignette when you shoot, yet you add one in post. :lol:
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Re: From 24 to 48 the race begins

Postby Kitwn » Tue Jan 31, 2012 8:23 am

We've all been used to 50 or 60 interlaced fields per second on our TV sets for the last 50+ years. This always gave a better sense of movement than film. It's taken a long time for cinema to recapture the lead!

How will 3:2 pulldown cope with this :???:

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