All eyes are on High Frame Rate cinema, the latest technology shift touted by such heavyweight filmmakers as Douglas Trumbull, Peter Jackson and Jim Cameron. But how many frames per second is ideal? How does HFR cinema change the workflow and the bottom line? In this series on HFR, Creative COW takes a look at the new technology, how certain types of storytelling might merit its use and others not, and the experimentation with high frame rates, variable frame rates, and the aesthetic impact on the audiences. | | | |
IBC Expo
High-speed cameras roll at IBC 2011
IBC boasted hot new high-speed cameras, with P+S Technik introducing a "time effect" or digital cinematography synch sound camera with a 35mm-sized CMOS imager and global shutter that offers slow motion, fast motion, ramped motion and time-lapse motion.
Editorial, Feature
Debra Kaufman |
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Cinematography
High Frame Rate Cinema
All eyes are on High Frame Rate cinema, the latest technology shift touted by such heavyweight filmmakers as Peter Jackson and Jim Cameron. But how many frames per second is ideal? How does HFR cinema change the workflow and the bottom line? This group of experts weighed in on why we should be excited by the opportunities of HFR cinema and what we can expect in day-to-day production and post workflows.
Editorial
Debra Kaufman |
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Cinematography
Setting Standards for High Frame Rate Digital Cinema
Dave Stump, ASC, is a co-chair of the SMPTE Working Group on High Frame Rate Cinema. The upcoming releases of The Hobbit and Avatar 2 have highlighted a number of issues that the entire filmmaking community is going to have deal with, including exhibitors. A winner of an Academy Award for Technical Achievement as well as a cinematographer, Dave speaks from a variety of perspectives as he describes the early days of progress towards standards for High Frame Rate cinema.
Editorial, Feature, People / Interview
Dave Stump, ASC |
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Cinematography
The Hobbit & The Dawn of High Frame Rate Cinema
The technology wizards of the film/TV industry have been talking about High Frame Rate cinema for a long time; indeed, Douglas Trumbull's Showscan at 60 fps presaged the current interest over 30 years ago. But it took director Peter Jackson to take the plunge for mainstream cinema, declaring he would shoot The Hobbit in 48 fps to get momentum going. In about a year's time, manufacturers made the gear, theater exhibitors updated their movie theaters, and the studios prepared for one of the most audacious technology debuts that cinema has seen. Creative COW goes behind the scenes to see what it took for you to see The Hobbit in 48 fps.
Editorial, Feature, People / Interview
Debra Kaufman |
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Cinematography
The Aesthetics of High Frame Rate Cinema
Any change in the way we watch movies creates a heated debate, from the introduction of sound and color to digital acquisition and stereoscopic 3D. Now, the subject of debate is High Frame Rate cinema and, naturally, the debate is emotional. From watching hundreds, maybe thousands, of movies, we all have an idea of what a movie ought to look like, and for some people, HFR doesn't fit into the picture. Other moviegoers are excited about HFR's potential -- but to fulfill it, filmmakers and technologists have a lot of work ahead of them.
Editorial
Debra Kaufman |
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Film History & Appreciation
Review: The Hobbit Without An Unexpected Pun in the Title
Not being a teenage Tolkien freak anymore, Kylee Wall was reasonably enthusiastic, but not lose-your-mind crazy like she was when she saw The Two Towers back in the day. She wasn't even dressed up in an elven cloak and holding a bow like the girl that sat next to her. But when the film entered Bag End for the first time with Ian Holm narrating - In a hole in the ground there lived a Hobbit - Yikes, emotions. Read Kylee's reactions to seeing The Hobbit in all its glory - 3D, HFR, and all.
Review
Kylee Wall |
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