By D. Quesnel, M. Lantin, A. Goldman, S. Arden, S3D Centre, Emily Carr University of Art + Design
This white paper reveals reports on the aesthetic experiments conducted by the S3D team at Emilly
Carr with a focus on High Frame Rate (HFR) and Variable High Frame Rate (VFR) to provide a basis for discussing best practices in Stereoscopic 3D production with High Frame Rate technology.
With the emergent market of Stereoscopic 3D (S3D) television and S3D digital cinema projection, content creators are faced with the challenge of learning how to develop high quality S3D material. Issues surrounding the prominence of distracting motion artifacts have arisen, along with the constant push to make S3D content more immersive and closer to reality than ever before. High frame rates (HFR), which is the capture and projection of a frame rate greater than the current 80 year old standard has been suggested as a means to achieve higher quality S3D. 24 fps has become widely known as the ‘cinematic aesthetic’ however, certain motion artifacts such as blur and strobing are noticeable due to a shutter speed too slow to capture temporal information. Motion artifacts are of concern in stereoscopic 3D productions because they have been shown to increase viewer discomfort and lead to a distracting experience, the opposite of what most S3D productions are trying to accomplish. Motion artifacts are greatly reduced at higher frame rates resulting in a more comfortable viewing experience with more temporal information. We have identified a conflict between maintaining ‘aesthetic’, and reducing these problematic motion artifacts.
The S3D Centre is researching the effect of Variable HFR S3D on the aesthetics and immersion in the context of a single narrative. Advances in digital projectors, software, and cameras have made it possible to consider combining frame rates in a production. With technology used to capture and display a complete narrative at multiple frame rates (both standard and higher), what would be the creative benefits and drawbacks of doing so? Would the use of HFR as a ‘tool’ in this way alter the degree of immersion for the viewer? We created the variable HFR S3D short film “Soul Mate 3D” as a means to explore these questions and see what the results are for both 3DTV and Cinema. We discovered the greatest question of whether to use HFR in a stereoscopic 3D film within a narrative context depends largely on the content and creative intent of the film itself. [more...]
Source: S3D Centre, Emily Carr University of Art + Design