SIGGRAPH: The Challenges of Shooting Movies at Higher Frame Rates
By Rob Scott
August 13, 2012
August 13, 2012
- The annual SIGGRAPH computer graphics conference featured a panel on shooting films at high frame rates. The panel attracted in excess of 1,000 attendees (including studio execs) and lasted more than two hours.
- Filmmakers such as Peter Jackson and James Cameron are now advocating shooting at 48 frames per second or higher. “Avatar” producer Jon Landau suggested that filmmakers, rather than the studios, need to drive the process in order for high frame rates to succeed.
- Landau noted the dip in 3D audiences. “In 3D, studios decided to impose it on filmmakers, and the result suffered and the public picked up on it,” he said.
- “We have a responsibility to find what tells story in a better way and drives people out of their homes and into the cinema,” he added. “[With high frame rates,] they will walk away having been more engaged in our movies.”
- Cameron plans to produce his “Avatar” sequels at a high frame rate and Jackson has chosen 48fps for “The Hobbit” trilogy. Filmmaker and innovator Douglas Trumbull described Jackson’s pioneering effort as a “bold step” that will hopefully pay off, considering theater attendance is at a 16-year low. “Peter Jackson’s commitment [to high frame rates] is very brave and very important,” he said.
- “Supporters of higher frame rates argue that the they create a more lifelike image and truer illusion of continuous movement,” notes Carolyn Giardina in The Hollywood Reporter. “In particular, they improve 3D and action sequences by eliminating or greatly reducing motion artifacts like blur. Others argue that images shot at higher rates look too real, resembling video more than the traditional look of film.”
- The panel discussed the strain that additional data places on the post production process, noting the challenges involved with computing, storing and rendering the increased data that results from shooting at higher frame rates. However, panel members did not waver in their support.
- “We know these problems are coming,” said Dennis Muren, Industrial Light & Magic’s Oscar-winning VFX supervisor. “We can start thinking about ways to do this more economically and faster.”
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