Hollywood tests UHD/HDR at 120fps (1 Viewer)

TheForce

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After watching a few minutes of a BluRay movie using 1080 60p motion flow on my new Sony with Reality Creation 4K upconvert, the movie took on the appearance of a live TV show. Just didn't feel right, so I shut off the motion flow and returned to 24 fps.

Sony's new motion flow engine, creates the higher frame rate by not just adding additional duplicate frames, but also rendering in real time image morphed frames that look like it was shot at that frame rate creating a sharper shorter time incremental movement. The older technology just uses motion blur for increasing fps.
 

mike123abc

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Movies shot in 48 (Hobbit), 60 or 120fps will look far better than artificially created motion flow. There is simply no way a $10 chip can do the necessary computations to properly simulate what is really needed, all they can do is apply simple common techniques that work a lot of the time, but no way near all the time.
 

Ilya

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I too believe that the Soap Opera effect is so bad not because of the higher frame rate but mostly because of the primitive interpolation algorithms used in TV sets that cause the movements look unnatural and our eyes are very sensitive to that. It's like early CGI: you could tell right away a CGI character by the way it moved. The same principle here.
 

TheForce

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Movies shot in 48 (Hobbit), 60 or 120fps will look far better than artificially created motion flow. There is simply no way a $10 chip can do the necessary computations to properly simulate what is really needed, all they can do is apply simple common techniques that work a lot of the time, but no way near all the time.

I won't ever go on record to claim that technology can't do something in the future. There are things being done today with inter frame interpolation for motion flow and pixel level changes for upscaling that were considered impossible just 2 years ago.
Even post production 3D from a 2D camera is creating very realistic stereographic results that is in many cases more accurate than what can be done with twin cameras.

The main issue I have with certain HFR productions, whether done by camera or after the fact with artificial means, is that we have become so used to certain stories being told at traditional 24 fps, motion blur, rack focus techniques, zoom in and out, dolly and crane moves, all part of the story telling technique, that when we attempt to create these stories like real world vision POV, they lose their fantasy effect on the emotion of the story.
 

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