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Getbig Main Boards => Gossip & Opinions => Topic started by: sync pulse on September 06, 2019, 09:08:40 AM
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Here is a scene from a famous movie...that is different than most movies.
Can you tell what it is?
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Here is a scene from a famous movie...that is different than most movies.
Can you tell what it is?
No dindees?
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ESF might reply later. He is busy teaching a MILF how to deepthroat while being fed sushi by a side bitch
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(http://pawg.org/wp-content/uploads/2019/09/whooty.jpg)
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Not 24fps?
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Not CGI.
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Not 24fps?
You got it! (58 minutes)
Of course I am talking about movies shot on silver halide (film)...Only two feature films were shot at 30 FPS..."Oklahoma" and "Around the World in 80 Days" Oklahoma was shot twice...they would do a take, first on Todd-AO "70mm" at 30 fps, then Cinemascope at 24 fps.
They had to do it twice because most theaters couldn't project 30 fps so the Cinemascope 24 fps was for those houses.
Todd AO was 70mm...when you hear about 70 mm movies they are talking about Todd AO...and the projectors could be "overclocked" at 30 fps.
Producer Mike Todd wanted the film industry to switch to shooting at 30 fps, even ordinary movies.
But...If you did that...
- your budget for film stock and processing would be increased by 25 percent...
- You would have to retrofit movie houses.
- If you wanted magazines to last 10 minutes they would have to be made to hold 25% longer loads.
- Many don't like the "Soap Opera Effect"
So only the two movies were done 30 fps.
This would be similar to what happened in the last half of the 1920's...Silent movies were filmed at just 16 fps before...Which is why they look strange even projected at the right speed.
Look at Harold Lloyd running...
&t=15m49s
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This would be similar to what happened in the last half of the 1920's...Silent movies were filmed at just 16 fps before...Which is why they look strange even projected at the right speed.
Would the undercranking speed correction in the late 1890s video below involve any special interpolation between frames or did they just take it into a regular editing program and slow it down to match a normal speed?
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Would the undercranking speed correction in the late 1890s video below involve any special interpolation between frames or did they just take it into a regular editing program and slow it down to match a normal speed?
I rather suspect they just fiddled with the software until it looked "right". The problem with hand cranked cameras you were dependent on the judgement of individual cameramen in turning the crank. There were some that used spring motors, but this also could result in variations...especially between different cameras in larger productions/news affairs.
In the middle 1920's, filmmakers realized that with sound on the horizon, these speed variations were intolerable...So they started using synchronous electric motors run off the power grid. (this is when they upped the frame rate to 24 FPS)... The AC electric frequencies at the time were the most precisely regulated thing you would encounter in daily life. Only being displaced by the Color Burst in NTSC analog TV in the 1950's.
Leni Riefenstahl was bothered with speed variations between cameramen when capturing big events like the Nuremberg rally parade...It was obvious when scoring the parade scenes that there were speed differences between cameras. The scoring conductor had to take this into account when recording the music for these scenes.
Here is a silent film made in 1929 after they upped the frame rate...Compare with the Harold Lloyd scenes above shot in 1920.
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Thanks for the info, Sync.
It will be interesting to see what can be done in the future to old films with AI enhanced sound and visuals.
This is adding frames to standard video for smooth slo-mo:
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I rather suspect they just fiddled with the software until it looked "right". The problem with hand cranked cameras you were dependent on the judgement of individual cameramen in turning the crank. There were some that used spring motors, but this also could result in variations...especially between different cameras in larger productions/news affairs.
In the middle 1920's, filmmakers realized that with sound on the horizon, these speed variations were intolerable...So they started using synchronous electric motors run off the power grid. (this is when they upped the frame rate to 24 FPS)... The AC electric frequencies at the time were the most precisely regulated thing you would encounter in daily life. Only being displaced by the Color Burst in NTSC analog TV in the 1950's.
Leni Riefenstahl was bothered with speed variations between cameramen when capturing big events like the Nuremberg rally parade...It was obvious when scoring the parade scenes that there were speed differences between cameras. The scoring conductor had to take this into account when recording the music for these scenes.
Here is a silent film made in 1929 after they upped the frame rate...Compare with the Harold Lloyd scenes above shot in 1920.
Very interesting, thanks for this you really know your stuff.
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(http://pawg.org/wp-content/uploads/2019/09/whooty.jpg)
Nice