zlfan

Every joke has its meaning. You just did not get it.

iphone 15 pro max now has 1 inch/s16 sensor and can do 4k 60p with great ibis. Some other phones even have u43 sensors. It is just a matter of time for some phone company to come up with some cinema phones with a s35 sensor. Once the "cinema phone" comes, the cinema world will be changing paradigm quickly. Many old rules just can not hold any more. The so called 24p for cinema, 30p for news, 60p for sports and action and gaming, will be under serious tests. Personally, I think these ps are just tradition, than pure scientific optimization, and thus, will fade away with time.

you see, you don't have any convincing data to support why eu sets 25p as the standard. if 24p is the holy grail like some of you think, if 24p is fundamental to cinematography, just like light speed to modern physics, eu should set 24p as its standard. and why 25p, not 23p? both are 1p away from 24p. as you can see, when we dig more, we can tell this 24p is mandatorily chosen, not optimized. otherwise, there should be data supporting why 24p is superior to 25p and 23p, and so on.

interestingly, why are so many attacking me on titanic as hfr movie? i learn it from wiki, blame wiki if you want to, lol. https://en.wikipedia.org/wiki/List_of_films_with_high_frame_rates

i want to bypass af100's internal avchd 24mbps weak codec. i already have inferno, ki mini, nano flash, i want to try uncompressed to see how much it can improve the grading.

Also, even if when we watch top gun 2 or john wick 4, and feel their motion blur is normal for 24p in action takes, probably the colorist did some trick reducing the motion blur in post. Unless we see the raw footage, we don't know. If motion blur is reduced in post, then the 24p purpose of larger than life is defeated.

about 30p is for news. this used to be true when 2/3 eng cams rule the news gathering world. no matter how hard 2/3 or 1/2 eng cams try, that small sensor look is imbed. and no matter 30p or 60p they are, they were dispised by the cinema world, which was reasonable discrimination. nowadays, fx9 c300 iii etc are popular in news gathering, 30p on large sensor cams vs 24p on large sensor cams, there is not much difference, totally different from 30p 2/3 inch or 1/2 inch eng cams vs 24p s35 cams.

the ones i know: cd gemini 1080p 30p 444 uncompressed (very rare on used market) cd 7q/7q+ 1080p or 4k 444 60p uncompressed (expensive, about $1000) bm shuttle v1/v2 1080p 30p 422 uncompressed (cheap even when new, but mounting is difficult) any other choice? thx

When indie dps have more influence than hollywood, they may make their own rules and the viewers will follow. Now it is all about eye-catching war.

You are really imaginative, good for you as a future dp. lol.

You are totally right. Such a trend will be more and more apparent in the next 10 to 20 years. Hollywood now relies on fast actions and large scale green screen plus heavy vfx. Yet they still use 24p for these larger than life motion blurred movies. LOL.

Will you ask Roger Deakins how many cams does he have? or how many thongs does he have? LOL.

About the populism and elitism, only because of the internet, Trump was elected the US president 2016-2020. This never happened before in US history. So with the new technologies, populism may win. Not in every field, but in the fields that democratize the knowledge and skills. (un)fortunately, photography and cinematography are such fields. Financial engineering is still elitism based, due to the limited access of the information and the capital. I'd like to see the new world when finance is democratized. LOL.

Interesting discussion, actually. I guess your point is more about elitism vs populism. One hundred years ago, 16p and 24p were determined by Hollywood powerful producers and dps single handed. The world followed. At the time, the technology is exclusive. Elitism in cinematography is true. Now, the technological barrier is almost none. It is just internet, democratize information. Nowadays, you can have a crop mood ml raw cam lower than $500, and have true lossless 14 bit raw, on par with arriraw. In the still photography world, such trend already happens. Anyone with an iphone or u43 cam, can snap at the right moment in the right place, some decisive moments. Some of these photos are no less than a pro's master piece, in all of the ways. In 10 to 20 years, such trend will come to the cinema world. Plus the AI, most of the time, you even don't need a pretty model anymore. Exciting time, but many old rules may not hold anymore, including the 24p thing.

if docs are not for journalism principles, then why name it as doc, maybe larger than life drama is a better name. so that viewers will not take it for granted that these are true stories?

anyone is willing to explain why eu uses 25p, states for 24p? why 23p is not chosen, not cinematic?not larger than life? 23p is further away from 60p than 24p, so it is more larger than life?

this goes "beyond" strict journalism. sorry for the typo.

this goes behind strict journalism. there is some category called true story trying to blend journalism and creative writing, but it is not widely accepted.

as long as cooke and arri and primo prime lenses and french zooms are mf, high end cinema is still mf based. especially the recent hype of going film, arri sr2 does not have ibis af etc.

I agree with you on your points. Cinematic is about everything in the workflow. 24p is not bad, I use ML raw so 24p all the time for the last ten years due to the fact that 24p presets generate best results in ml raw. Let's deduct a little bit more here. The recent 24p documentaries actually pose a dilemma for 24p. If 24p is larger than life, even subtly, then recent 24p documentaries dps are cheating viewers, because documentaries are supposed to be strictly journalism oriented. If 24p is not larger than life, 24p documentaries are real stories, which follow the journalism principles, but 24p is larger than life cannot hold.

For the last ten years, I watch TV no more than 10 hours per year. The so called 30p for news thing just fades away from my viewing experience. I watch streaming services or social network platforms 99% of my viewing time. When I watch recent documentaries, I never have feelings that these are larger than life, although I bet most of these documentaries, if not all, are shot with 24p. I doubt any DP is willing to choose 30p or 29.97p for his/her documentaries, when 24p is at hands, easily accessible. If a documentary DP gives me the feeling that his work is larger than life, I think this is a failure, instead of a success. I watch documentaries to learn real stories, in depth news analysis and reports, not some drama. The former is journalism, the latter is creative writing, very very different. I seriously doubt 24p gives a larger than life feeling, at least, I don't see such a thing in documentaries.

at the 16p soundless age, 24p was introduced because it represents the real world better, i.e., it was more WORLDLY and BETTER frame rate than 16p. then when 30p 60p come, 24p suddenly is a holy grail UNWORLDLY YET BETTER beauty. 24p wins all the time. lol.

also, a previous commentor says that 60p is not for real life, 120p is. if so, then come 60p is bad unworldly, 24p is the optimal for the unreal, all the way from 119p to 1p? any histogram or other kind of graphs to justify this optimal 24p unworldly thing? then how about 25p? closer to 120, so less unworldly? lol.

Nowadays, a lot of events are shot on 24p, and a lot of weddings. Hard to justify events for 24p, as viewers want larger than life events? Weddings, to some degree, understandable.