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>If you believe that the purpose of a film format is simply to convey moving images to the viewer with as much fidelity and control as possible, as I do, then 48 FPS is objectively better As used in the current film, 48FPS diminishes selectivity of detail, one of the most important attributes of any artform. In this film it is ALL detail, ALL the time. For an analogy, think of it in literary terms: 48FPS is akin to a writer endlessly pouring over every minute detail of his scene, at the expense of plot, characterization, theme, etc. In literature, that might become a hallmark of style (Dickens), but even so, when the plot needs to move, one dials down the descriptiveness. In film, we're swept along at the movie's pace, and there isn't always time to process the blanket intensity of detail at 48 FPS. It can easily draw our attention to non-essential parts of the shot, and overwhelm visual attention at the expense of auditory story-tracking. FWIW, I saw the film in 48 FPS 3D, and I truly tried to be as open minded and objective about what I was viewing, trying to approach the content, style, and technology on its own terms. (I find this is often the way to get the most enjoyable experience out of a movie.) There were moments when I found the level of detail breathtaking. Unfortunately, there were more where I found it to be distracting, and the motion strangely awkward. For the most part, I did appreciate the lack of motion blur on panning shots. Perhaps what is needed is a new method of dialing the detail up or down within the shot when using HFR, beyond the current means of focus, depth of field, and lighting. Like a painter selectively using detailed rendering techniques on different faces within a scene, filmmakers shooting at 48 FPS could then more easily direct their audience's glance and attention according to the aims of the narrative. But as in any art, there's no easy answer here. It's always going to be about tradeoffs. |