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! Jeff Kreines Kinetta j...@kinetta.com <mailto:j...@kinetta.com> kinetta.com 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 > <mailto: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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