Films are made up of sequences.
Sequences are made up of scenes.
And scenes are made up of shots.
In previous episodes, we covered camera lenses.
Movement.
And Gear.
But in this episode,
we will discuss how different frame rates
impact how we perceive motion.
And the speed at which motion appears on screen.
♪ The Shot List - Intro Music ♪
This is Episode 8 of "The Shot List".
♪ The Shot List - Intro Music ♪
Frame rate.
In this video, we'll include tips on how to manage frame rates in your projects
to help you avoid the common mistakes
while creating something visually stunning.
Now, first, let's frame this video.
Cinema is built upon illusions.
Sets recreate reality.
Editing manipulates time.
Visual effects do the impossible.
But the first and most fundamental illusion is motion.
"- Motion pictures are based on an optical illusion.
Just another case where seeing is believing."
- Despite the name, when we watch a film,
we are not seeing a motion picture.
We are actually seeing multiple pictures.
A series of still images.
Playing back these images or frames consecutively
creates the perception of motion.
There are a couple of theories on how this works.
The Phi Phenomenon.
Beta movement.
Persistence of vision.
But the short answer is
that when images are shown fast enough
our brain loses the ability to see individual frames
and blends them together
into a single moving image.
"- Persistence of vision is the principle which makes movies possible."
Now, the number of individual frames that are shown within one second
is known as frame rate.
Frame rate is expressed in frames per second
or FPS.
For example, a frame rate of 30 fps
contains 30 individual frames
or still photos within one second.
To shoot a narrative that emulates the look of traditional cinema
you will want to shoot at a frame rate of 24 fps.
When sound was first introduced to motion pictures...
"- This is what the people want.
Silent pictures are yesterday's news."
...the frame rate needed to be fast enough
to utilize sound technology
but slow enough to save money
on the amount of film being shot.
It's consistent use over decades
has dubbed it the most cinematic frame rate.
However, we've seen some notable exceptions
over the last few years.
"The Hobbit" was famously shot at 48 frames per second.
The goal was to reduce motion blur
and the eye strain of 3D presentation.
Director Peter Jackson
wanted to create a completely immersive audience experience.
"- The 100 years ago, you know, movies were black and white.
They were silent.
They were 16 frames a second, okay.
And so a 100 years from now what are they going to be?
I think you can absolutely guarantee
they're not going to be 24 frames a second.
So, at what point between now and 100 years
do these advances actually happen?"
- Director Ang Lee took this idea a step further.
When he decided to shoot "Gemini Man"
at a whopping 120 fps
"- [120 fps] Is visually more closer to life.
The experience is different.
The perspective is different.
You got a first-person feeling
what would that be like?
To me it's a logical next step."
- However, since this video essay is presented at 24 frames per second
these clips you're seeing
don't represent the look of higher frame rates.
So, to get the full experience
you need to see it projected
at an equal frame rate.
Are these failed experiments?
Or an evolution in filmmaking?
Let us know in the comments.
Now, the additional frames in higher frame rates
makes motion look smoother.
But what about when cinematographers deviate from realistic speed
to tell their story?
Fast motion.
Assuming you'll be playing back at 24 frames per second,
simply put, lower frame rates can make motion look choppy
because they lack frames.
What's the point of doing it that way?
For example, recreating the vintage look of old home movies.
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Or adding a comedic element to the scene.
In our previous video,
director Jay Roach revealed this simple trick
for creating fast motion.
"- The way the fembots' heads explode...
It's such a primitive technique.
You just under crank the camera to 2 frames.
They move their heads around at normal speed
but because it's under cranked it looks like they're just jerking around
and short-circuiting.
That, of course, their heads explode.
- Oops. I did it again, baby. Yeah."
- Now, let's look at another reason
filmmakers shoot lower frame rates.
This technique is called step printing.
This is done by shooting a low frame.
Often with a slow shutter speed
to create the blurring and streaking.
Then the frames are copied and repeated
to create 24 frames per second.
For example.
"- My name is Domino Harvey.
I am a Bounty Hunter."
In Tony Scott's "Domino",
they shot sequences at 6 frames per second.
Then printed each frame an additional four times
to equal 24 fps.
"- I tried Beverly Hills High for a spell,
but it didn't work out.
I hated them."
- You can also find this effect
in the films of Wong Kar-wai.
In "Gladiator".
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And music videos.
The physical motion is at normal speed
but the amount of motion blur
gives the impression of fast motion.
Ideal to create a visceral
and subjective presentation.
For more on the relationship between shutter and frame rate
check out our other video on shutter speed.
Linked below.
Now, let's look at the opposite effect.
Slow motion.
"- If we want to slow down the motion of something that goes fast
we speed up our camera
and make say five times as many pictures per second.
We have slow motion
when they are shown on the screen at normal camera speed."
- Assuming you'll be playing back at 24 frames per second,
to create a slow motion effect
you'll need to shoot at a frame rate higher than the playback rate,
say 48 FPS.
60 FPS.
Or even 120 fps.
Which is called over cranking.
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The higher the frame rate, the slower you can slow down footage
while maintaining smooth motion and clarity.
For "The Matrix" shots were taken at speeds up to 300 fps.
"- You're empty. - So are you."
- The opening credit sequence of "Zombieland"
was shot at 1000 fps.
The key thing to remember about slow motion
is that it emphasizes
whatever action or emotion you present it with.
It can make horror more terrifying.
Action more spectacular.
"- Oh, great."
Or comedy more hilarious.
Filmmakers utilize these extremely high frame rates
to capture motion that even the human eye cannot see.
"- I can't get a shot."
In this scene from "The Hurt Locker",
extreme slow motion is used to brilliantly capture an explosion.
High frame rates also enable filmmakers
to utilize speed ramps.
Like in this iconic action sequence from Zack Snyder's "300".
A speed ramp is an editing technique
used to transition between
varying speeds of motion in the same shot
where each strike is given extra weight
and impact.
To better understand the impact of slow motion on the story
take a look at these two fight scenes.
One is at normal speed
while the other is in slow motion.
"- Creed ready to let his hands go.
Creed misses and gets hit in return.
- First, distract target.
Then block his blind jab.
Counter with cross to left cheek.
- Hard left hook for Conlan, uppercut.
- Tie him up! Tie him up!
Discombobulate.
Dazed, he'll attempt wild haymaker."
- What does slow motion accentuate in this fight scene for the audience?
"- ...weaken right jaw.
- Creed spins, puts the champ in the corner!"
- What does it take away?
"- Throwing body shots like he's Rocky Balboa!"
Let us know in the comments.
And now as promised
some tips on how to manage frame rates in your projects.
Pencils out.
"- Settle down, class. Settle down."
Deciding which frame rate to shoot at
depends on what you want the final product to look like.
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Which we'll call the quality of motion.
Such as normal motion.
Fast motion.
Or slow motion.
However, the final frame rate we see on screen
we're actually seeing the relationship of two different speeds
which we'll call the capture rate
and the presentation rate.
Capture rate is how many frames per second
were recorded by the camera.
While your presentation rate
is how many frames per second
the audience sees in the finished film.
For normal speed motion,
the presentation rate must equal the capture rate.
If you're shooting something with a lot of motion,
like sports or concerts,
you might want to consider shooting and presenting
at higher frame rates
as the additional frames will make motion appear smoother.
Remember, to achieve slow motion you would shoot faster than 24 fps.
However, as you recall "Gemini Man"
was shot at 120 fps for normal motion.
Let's see what that looks like slowed down to 24 fps.
The motion is completely smooth
but the duration and audio is stretched.
Another reason why your presentation rate
is so important.
The opposite is true for fast motion.
All you need is to shoot at a rate slower than 24 fps.
which is called "Undercranking".
So the main takeaway is don't mix frame rates
if you want normal looking motion.
Only mix frame rates if you intend to
shoot high frames per second
to create slow motion.
Or shoot lower frame rates to create a choppy, jittery aesthetic.
Now, I know this is a lot of information.
So for a complete breakdown on frame rates
and all the practical ways you can experiment with them
we have an ultimate guide on our blog.
The link is in the description.
Remember, no matter how many frames per second you shoot
it is your presentation rate that matters.
"- Discombobulate."
Add your shot.
Its details.
And specify the frame rate here.
You can call attention to the specialty shot
by color coding it
to make sure the frame rate is cranked
to the correct value.
If you're ready to create a shot list
you can find a link to StudioBinder's free shot listing tool
in the description.
And remember that you are in complete control of your frame rate.
Have fun with it.
"You're crazy, man.
You're crazy."
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