I didn't want people to sit there and watch 10 minutes of film, and all they write about is 48 frames.
Part of what's mesmerizing about 'The Mechanics of History' is its physical eloquence - how dancerly it is. The men don't fall; they float. And when the trampoline restores them to the staircase, they move at a half speed. Cinema, they say, is 24 frames per second.
Forty-eight frames per second is a way, way better way to look at 3D. It's so much more comfortable on the eyes.
Ultra high speed slow mo.
A picture story just doesn't run like a film. It doesn't have 24 frames per second. It doesn't deal with this illusion of movement. It's more like if you did an illuminated novel. I think both of those things should be running at full blast, not less of both so it becomes an easier thing. I think it should be twice as dense. That's just what interests me.
The trade-off between speed and image quality is a key constraint of first-person action games, and the job of developing a workable engine involves constantly optimizing both elements. Gamers dream of the day they'll be able to haul their arsenals through three-dimensional environments of photographic clarity, playing 'Myst' with a meat ax.
In editing, it's amazing how you choose the in and out points. What you cut on is everything for creating tension. It's amazing how expanding a shot by five seconds can just ruin the tension.
48 frames per second is something you have to get used to. I've got absolute belief and faith in 48 frames... it's something that could have ramifications for the entire industry. 'The Hobbit' really is the test of that.
A scene gets cut a few frames here and there, but there's a cumulative effect to it, and then the music needs to be reworked. It's demanding, but when you see the improved cuts, it's always better.
Film is lies at twenty-four frames a second.
In all animation, if it's done quickly, you'll know it. And if you're very slow and careful with it, it's going to look a little more beautiful. It's just compressing time into seconds.
I quickly realized that this medium had a lot to offer someone like me. To do Disney-quality hand-drawn cartoons, you have to be a master of two art forms. Seriously, you have to be able to draw like a Leonardo da Vinci or a Michelangelo. But also you have to know movement and timing and control that through 24 frames a second.
I wouldn't apply high frame rates to a love story or a thriller or a film noir or a mystery.
The pace of television is very different from film.
Animators have to live life 24 times as long as we do - every 24 frames of a second.
Yes, actually. Animation's a very easy thing to watch on tour.
There's a technical reason why I think that frame rate is weird and it has to with your brain's ability to scan beyond a certain rate. The point is I find it looks weird.
The cinema is truth 24 frames-per-second.
I love great animation.
Peter Jackson is a real big hero of mine because he had the nerve to make 'The Hobbit' at 48 frames per second.
With high-speed cameras, we can do the opposite of time lapse. We can shoot images that are thousands of times faster than our vision. And we can see how nature's ingenious devices work, and perhaps we can even imitate them.
Movies used to be called the 'flicks' because they flickered badly: because 16 or 18 frames a second - which was those hand cranked movies on a single-bladed shutter - was really badly flickering.
One of the tricky things with animation is, because we spend four years on the movie and everything is done so methodically day by day by day, it can be a struggle to have the finished film feel spontaneous and loose and naturally occurring.
A picture story just doesn't run like a film. It doesn't have 24 frames per second. It doesn't deal with this illusion of movement.
Great graphics requires more than just high-performance hardware. Gamers know software is just as important.
