Why do B&W movies look so nice and enlargements don't?

Did you know that if there is a polarization change every frame and the viewer is wearing polarizing glasses, you see the scene in 3D either via subject or camera motion?

PE

Animation frame rate

Helen B said:

And an afterthought: When you watch animation you might be seeing the same image at least four times because they (we) often shoot 'doubles'. Two frames of the same image, because 12 fps is just good enough for perception of motion.

Best,
Helen

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I didn't note the exact math. but an obituary for Joseph Barbera, late of Hanna Barbera (Tom & Jerry etc. etc) mentioned his revolution of frame rate in animation. The implication was that 24 fps may have been the standard, but that Hanna Barbera achieved satisfactory results at half to two thirds that rate. I would imagine that the in-between cel artists could do 50 to 60 percent more work that way, a great saving in the days before the rote work was exported to Korea and other low labour cost countries.

Regards - Ross

I had the opportunity to see a presentation by Douglas Trumbull and to talk to him afterwards for about 45 minutes. The overall subject was his work on ultra high speed projection to achieve a huge improvement in quality.

He uses this on some of the projects he has recently worked on including the "Back to the Future" and similar projects, to get stunning nearly 3D images.

You may remember his stunning work on "2001 A Space Odyssey". He showed us some outcuts of that during the presentation.

PE

I've achieved "acceptable" results in animation with 1 frame duplicated three times to fill a 30 FPS timeline (was working entirely in video, no film step, sadly.) By 'acceptable' I'm using an entirely subjective measure that says I didn't feel like I was watching cheap animation, just that my animation isn't very good.

Back to the original subject, the only negative strips i have laying around right now are some Fuji Reala 500 that I absolutely murdered (intentionally) by over exposing 3 stops, then pulling 2. While it's interesting, it's too hammered to give any objective statement on. That said, I have some Plus-X that I'll be shooting soon. Once I'm done my camera tests those negative strips are pretty much useless, so I'm not too worried about exposing them to dust in order to clip a strip and run it through my enlarger for the sake of internet science.

I am stagerd, what a mine of information this place is.
Regards Paul.

Helen B said:

Ever wondered why everything looks flickery in the viewfinder, but never when you watch the film?

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Actually Helen I doubt many people have ever looked through an Arri or other camera wth a rotating-mirror VF

PhotoEngineer said:

...ultra high speed projection...

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Doug Trumbull's method is called Showscan and it looks pretty, I did some work with them 20 yrs ago (ouch). I still think thir biggest lack is interesting content. They have a website but the newest 'news' is a couple of years old -- seems like a slow burn at best these days.

Bjorke;

Douglas Trumbull showed us some interesting new stuff he is doing for the Florida theme parks. In fact, the talk was so interesting he ran a bit overtime with no objection from the audience of about 300.

To everyone else;

I repeat again... One of the reasons motion picture looks so great is the huge latitude and deep blacks of the images. Go to Kodak's web site and look at the curve of Vision Print Film or ECP as it was once called. It has a dmax of over 4.0 which is higher than any other reversal material can achieve, and as a result adds several stops to the latitude of a scene.

In addition, the print film grain size is about 0.2 microns compared to most reversal films with a grain size of about 2 - 10 microns, so prints are much less grainy. How can that be when being printed from a negative film? The Vision negative film has 2 electron sensitization, making it about 30% finer in grain than a comparable positive film, and it contains DIR couplers to further reduce grain and enhance color.

All of this makes dupe transparencies from color negatives stunning examples of photographic art.

Persistance of vision does the rest.. Smothing out motion and other defects, but if you had ever seen a reversal original projected to the same size as a print from a negative, you would be shocked at the low quality of the reversal film original.

PE