7 months, 1 week ago
The 24 grids in the movie screening format are caused by historical factors. The earliest silent films have 16 grids and 18 grids. In the era of audio film, because there are optical channels on the projection copy, in order to ensure the normal reproduction of the sound, 24 grid / sec is the most cost-effective grid (the sound can be restored normally with the shortest film length). The speed of 24 frames per second ensures both correct sound reproduction and basic picture clarity while maximizing film length. In the film era, because of the cost of printing and distributing copies, a few large-scale movies are going to send thousands of copies. This cost cannot be ignored. The 24 grid display speed can save a certain film length, and count thousands of copies of the production volume, this money can not be ignored. Therefore, 24 is not the best technical solution, but it is the best cost-effective solution. In traditional film screening, if the projector uses a two-piece fender, the projector's foliate will temporarily block the light, and each frame will be additionally blocked once in the middle of the screening, that is, each frame is repeatedly projected twice on the screen. Because of the visual persistence effect, the last thing the audience sees is the moving picture. This speed is actually not in line with the natural vision of the human eye, and the 24-screen speed projection will bring effects such as stroboscopic, blurred and trailing. But the long-standing aesthetic has led to these ambiguities and smearing caused by technical limitations becoming part of the "movie sense." In the digital cinema era, frame rate changes are a simple technical issue. Therefore, increasing the frame rate of the show has become a matter of many directors. When Peter Jackson filmed The Hobbit, he first promoted the frame rate of 48 frames on a large scale, mainly to improve the brightness of 3D movies. In order to alleviate the motion blur loss caused by the high frame rate, PJ artificially added motion blur to some shots in the later stage to simulate the traditional "movie sense". The traditional "movie sense" is a very vague concept, but film aesthetics is a standard that can be cultivated. Film history has proven this several times, from silent movies to sound movies, black and white movies to color movies, 4:3 traditional frames to 2.35 widescreen frames, and every change will change the audience's aesthetic of the film, but also from the source. The film production and projection system has undergone radical changes. 3D movies are not a new form of film, and they have been ups and downs in history, until Card God's "Avatar" once again set off a wave of 3D movies. This time, the 3D movie wave is in a low tide stage, but the impact of high frame rate technology breakthroughs on 3D movies is still far-reaching. The 120 frames +4K+3D directed by Ang Lee is a more radical technological change than the PJ's 48 frames. This large technological change will have a significant impact on the audiovisual language and expression of the film. Personally, I think that 120 frames, a film format that has been fully technically verified by two commercial films, must be the future of 3D movies. It's not a simple tinkering upgrade. It not only solves the picture brightness problem of 3D movies, it has already begun to influence the form of the film. But this is another topic and it will not be expanded. However, 120 frames as a technical advantage, but the market is facing a business disadvantage. Because the filming technology changes, it is necessary to support the technical support of the projection. This kind of technical support is costly, but it is controversial who pays for this cost. The arrival of this 3D movie wave just happened to catch up with the outbreak of the Chinese film market. Therefore, Chinese cinemas have caught up with the advantages of the latter, and the penetration rate of domestic 3D digital projectors is very high. The historic North American theater has undergone a painful upgrade, and the upgrade of the projection equipment in tens of thousands of auditoriums is a very expensive cost. At present, cinemas capable of supporting 60 frames in China are very common, but there are not many movie theaters supporting 120 frames + 4K or 2K screening, and the fares are also expensive. Because the cost of upgrading the projection system is not low, but there are not many corresponding sources, it is impossible to use a long time to share the upgrade cost. The cost of this technological adventure is a very painful choice for the theater. It may be the future of the movie, perhaps a short-lived technical adventure, but the money of real money will not come back. There are many such cases in history. For example, TV stations have faced competition from various technical systems. Finally, Sony's Betacam system dominated the production units, and those who spend money on the Panasonic M2 system or Dvcpro system are very embarrassed. System versatility, you have to spend another time. The battle for Blu-ray and HD formats for civilian use was also a classic case. Now that the HD format has largely disappeared, those who spend money on HD projectors will be more painful because there are fewer and fewer sources. Will 120 frames replace 24 frames? From the big historical trend, the high frame rate replaces 24 frames, which is certain. But is this change initiated and completed by Director Ang Lee? do not know. The upgrade cost of film technology is becoming more and more expensive, but the improvement of the viewing experience brought by this change may have passed the best balance. "Gemini Killer" costs nearly $140 million, but the theater is not cheap with the equipment of the high frame rate auditorium. If you count the number of tens of thousands of movie theaters, the money is far greater than the cost of producing a single movie. With so much money invested, without the positive response of the audience, the theater may not be willing to gamble on an uncertain future with real money. However, because the Chinese film market has a large base and a latecomer advantage, the 120-frame high format has a higher probability of becoming a visible future. In line with this "Gemini Killer" screening, China and China Film launched 100 sets of Cinity projection system supporting 120 frames + 4K + 3D in China, and the national Dolby Cinema has also upgraded 2000 + screen support 120 frames + 2K +3D format. There are more theaters that support the 60-frame + 2K format. In addition, Zhongying also cooperated with Director Ang Lee in a high frame rate laboratory, and claimed to promote and support high frame rate formats in China. Considering the scale of the Chinese film market and the late-stage technological advantages of the Chinese film market, the 120-frame high format will have a brighter future in China, and it is a corner-like overtaking opportunity like 5G. But any innovation in film technology needs to be supported by quality content, just as the card god Avatar saved IMAX, 120 frames of high-format new technology that can change the audio-visual language, if it can be made by Chinese filmmakers. With good content support, the 120-frame high format has the opportunity to complete beyond, becoming an important opportunity for Chinese film to integrate and change the world of movies.