This is potentially interesting — solving some of the problems with DCPs and
silent films. Of course, the question is whether the DCP files have to be
padded out to 120 fps — meaning either bigger files or a lot more compression —
unless this “behavior” can be a projector setting, and work with a DCP file
flagged as 16 or 18 or 20 fps.
It also brings back the Phi Phenomenon — flicker is our friend!
From the Cinematography Mailing List — CML
> Begin forwarded message:
> From: Eric Kurland <3...@workprint.com <mailto:3...@workprint.com>>
> Date: November 19, 2014 at 2:15:43 PM CST
> Subject: Re: [cml-3d] Animators face 4K film technology 'challenge'
> To: "For the discussion of 3D moving images" <cml...@ls.cinematography.net
> Reply-To: cml...@ls.cinematography.net <mailto:cml...@ls.cinematography.net>
> SMPTE recently demonstrated variable projected framerates via the use of
> HFR harmonics. A projector running at 120Hz was demonstrated to simulate
> any lower harmonic of 120 by repeating frames and inserting black frames at
> proper intervals to effectively act as a shutter. The footage had an
> apparent lower frame rate while the projector continued to always operate
> at the same fixed HFR rate. They demonstrated how this could be used to
> restore silent films to their original non-24fps frame rates, and also
> showed how footage captured at 120fps could be played at lower harmonic
> frame rates by adding motion blur generated from the HFR frames and using
> this timing method for projection. The "on-the-fly" frame rate changes get
> baked into the DCP and the projector never even knows the difference.
> Looked great for 2-D. Haven't seen a 3-D implementation yet.
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