Same. I'll say, with no disrespect for those who prefer it, that when I was a kid and super into videogames, 60 fps seemed cool because it was new. But it always feels slightly hyperreal, kinda in that uncanny valley.
24 fps feels best to me. Better than 30, 15, 16, 12, 6, 4. Better than 60+. Even slightly better than 25.
Those numbers may seem odd and random, but doing a lot of animation using various framerates, 24 matches up with reality more closely than other framerates to me. Might be subjective, who knows. But when I'm noticing persistence of vision, for running, cycling, driving, I like 24 fps.
Pans & scans & tracking shots & dolly moves & steadicams, and how they convey motion via the aperture & ISO speeds & f-stops, will determine if the images will have more blur, or be sharper.
In Saving Private Ryan, Spielberg made the settings be super sharp so each image has no blur and is in great detail, to give the sense of like, kinda being on edge and your focus is super sharp to your surroundings. I think Chris Doyle in Chungking Express does some crazy open-aperture stuff with super low frame rates, creating a kinda like, trippy surreal staccado blur, sorta kinda on the opposite end of the spectrum of what Spielberg did.
I dunno. I'd only go for other framerates if projects demand it. But 24 feels great to my eyes because it seems to feel the most natural in persistence of vision in motion.
24 fps feels best to me. Better than 30, 15, 16, 12, 6, 4. Better than 60+. Even slightly better than 25.
Those numbers may seem odd and random, but doing a lot of animation using various framerates, 24 matches up with reality more closely than other framerates to me. Might be subjective, who knows. But when I'm noticing persistence of vision, for running, cycling, driving, I like 24 fps.
Pans & scans & tracking shots & dolly moves & steadicams, and how they convey motion via the aperture & ISO speeds & f-stops, will determine if the images will have more blur, or be sharper.
In Saving Private Ryan, Spielberg made the settings be super sharp so each image has no blur and is in great detail, to give the sense of like, kinda being on edge and your focus is super sharp to your surroundings. I think Chris Doyle in Chungking Express does some crazy open-aperture stuff with super low frame rates, creating a kinda like, trippy surreal staccado blur, sorta kinda on the opposite end of the spectrum of what Spielberg did.
I dunno. I'd only go for other framerates if projects demand it. But 24 feels great to my eyes because it seems to feel the most natural in persistence of vision in motion.