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C H A P T E R T W E N T Y - S I X
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ust about every cinema in the world runs motion-picture film through their projectors at 24 frames-per-second (fps) To avoid protracted periods of darkness and to avoid flicker as successive film frames are projected each film frame is typically flashed twice on the cinema screen at the rate of 48 fps using a twin-bladed mechanical shutter Thanks to the persistence of vision of the human visual system, these separate frames of film are perceived as acceptably merged moving pictures and flicker is reduced to a more reasonable level The film speed of 24 fps has been with us a very long time The 24 fps film-camera-capture rate was born in the late 1920s with the advent of sound for movies It was the lowest frame rate that could still satisfactorily reproduce the new phenomenon of audio on the film s optical track (24 fps was higher than the film speed that preceded it in the era of silent movies) This is a very important historical fact: 24 fps is actually a product of sound rather than imagery! The fact that it rendered motion
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CHAPTER TWENTY-SIX
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THE TECHNICAL ASPECTS OF 24-FRAME CAPTURE
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Despite its widespread acceptance, 24 fps film does have technical limitations Most of the populace has, at one time or another, probably wondered why the wagon wheels reverse themselves in their favorite Westerns Many have invariably endured the eye-strain associated with sitting close to a gigantic movie screen, when fast camera pans, or fast-moving scene content, assail the eye and brain with a visual staccato judder that almost hurts Ever notice the stuttering of the windows of buildings as the film camera pans across a dark cityscape Yet, if familiarity does not quite breed contempt, it most certainly has bred a noncritical acceptance
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reproduction somewhat more accurate in the pictures themselves was a happy and fortuitous coincidence Over the next five or six decades, there was little impetus to raise the capture rate any further because of the cost increases associated with the attendant elevated consumption of 35 mm film Good enough as applied to displayed motion film imagery was a criterion established long before the advent of television Indeed, much later, in the 1980s, The Society of Motion Picture and Television Engineers (SMPTE) was to conduct a long study on the merits of raising the film rate to 30 fps, and in 1988 they published a famous report on its considerable visual advantages It was, however, totally ignored by the industry Evidently 24 fps film had become deeply rooted in the psyche of most human beings, and few were complaining Meanwhile, film stock costs have continued to rise All of this has mitigated against any industry move to an enhanced frame rate (other than the use of high-frame-rate photography for slow motion) Thus, 24 fps remains universally accepted as a quite adequate frame rate for capturing moving images Thousands of movies are presented to hundreds of millions of people every year in cinemas all over the world at 24 fps
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In purely technical terms, 24-frame image capture represents gross temporal subsampling of the moving picture Technically, it works as well as it does only because a great deal of real-world motion is actually not all that fast Indeed, the greater portion of today s average movie constitutes a large number of skillfully edited sequences of scenes that in themselves are largely still or quite slow moving (including the camera zooms, pans, and tilts), and are thus captured really quite well Over the decades, the refinement of camera dollies, jib arms, and Steadicam, coupled with the expertise of film crews, has greatly contributed to the precision and smoothness of film camera moves, which in turn ameliorates the motion judder associated with 24-frame capture Aside from the technical aspects of 24-frame capture are the very important creative dynamics Passionate advocates of film have long differentiated it from video on the very basis that its more subtle picture portrayal is the very essence of effective storytelling Many largely attribute this to the way that film cameras are shuttered and operate at the low 24-frame rate Over time, this unique frame rate has been most skillfully exploited by legions of cinematographers to refine an entire art form in storytelling This is a core creative issue in any decision on choice of picture-capture rate
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