3D projectors being used for 2D 48fps

[David Quinn Carder]

There's no a reason a 2D feature at 48fps couldn't be played in theatres using the 48fps projectors used for 3D movies, correct?

 

[David Rasberry]

There is no reason they couldn't play 2D 48fps on most 2D digital projectors. 3D ready or not, most recent projectors sport frame refresh rates in the 96 to 120Hz range.

 

[Jeff Kilgroe]

Most polarized 3D projection systems show the left and right images simultaneously, not sequentially. So you won't get 48fps that way. Most projectors that have a mechanical shutter system use a 48fps "butterfly" shutter. Which means that each of the 24 frames shown every second is actually flashed to the screen twice. It helps break up the static appearance somewhat. It's more of a sub-conscioius perception.

Most new digital projection systems are capable of a variety of output rates, many do 48Hz or a multiple of 24. There are ways to get 48fps projected, but they're not going to be available everywhere and will probably be digital. You could always modify a film projector to pull the film through at 48fps to time with the butterfly shutter. That's probably asking a lot though.

 

[M Most]

Most polarized 3D projection systems show the left and right images simultaneously, not sequentially. So you won't get 48fps that way.

They actually do show them sequentially, at least in DLP systems. Each eye is triple flashed to minimize temporal anomalies. The projector is run at 144fps to accomplish this (24*2*3). The only passive glass system I know of that projects left and right eyes simultaneously is the Sony, which splits the 4K imager into two 2K images to accomplish that.

 

[David Quinn Carder]

So a 72/96/120 fps feature could have at least a limited release in theatres with existing equipment?

EDIT: Not that I really give a shit, but the Academy should get rid of their stupid 24/48 fps rule.

 

[Tim Hole]

DLP chips can sustain 144fps. It would require a macro set up in the console thats all. But it is something an engineer would have to do. Projectionists are not trained to do it, or allowed in most cases. Once its set up, its as easy as pushing a button to change from scope to flat.

Most film projector are only able to project at 25/25/30fps.

 

[Jeff Kilgroe]

They actually do show them sequentially, at least in DLP systems. Each eye is triple flashed to minimize temporal anomalies. The projector is run at 144fps to accomplish this (24*2*3). The only passive glass system I know of that projects left and right eyes simultaneously is the Sony, which splits the 4K imager into two 2K images to accomplish that.

Technically they do, but they still alternate the left and right eye images per flash to compensate for temporal distortion, in effect to get as close to a simultaneous projection as possible. But these are the digital systems capable of higher frame rates for displaying HD broadcasts and other content not delivered at 24fps that I was talking about anyway. Yes, they could be made to show a feature shot at 48fps. As for dual-projector 3D setups are almost always a simultaneous arrangement too and would not be suited for this.

I think features shot at higher frame rates will become more common as digital distribution and projection evolves a bit more. Too many opportunities here to explore the effects of other frame rates, even variable or multiple frame rates within the same feature.

 

[Gavin Greenwalt]

DLP chips can sustain 144fps. It would require a macro set up in the console thats all. But it is something an engineer would have to do. Projectionists are not trained to do it, or allowed in most cases. Once its set up, its as easy as pushing a button to change from scope to flat.

Most film projector are only able to project at 25/25/30fps.

Can the electronics handle it though?

I have a 120hz TV but it can only take in 60p signals. I imagine it's easier to hold two frame buffers and feed them 3 times than it is to move unique frames into the frame buffers 3x as fast.

 

[David Quinn Carder]

I really have no interest whatsoever in shooting at 24fps, and even 48fps would be a compromise. Luckily the worst case scenario isn't that bad as the video can at least be demonstrated on computer monitors via online distribution, or to potential investors/studios/whatever, at any sensible frame rate.