I violently disagree. This was all studied, hashed over, and fixed in the 1980s when electronic cinema production first came out with Sony's HDVS 1125i system.
People "expect" a film to have a certain "look," and when it doesn't then they are so distracted by the different look that they cannot suspend disbelief and get lost in the movie.
Even SD 480i video from broadcast quality cameras was sharper looking than feature films. (As an aside, my proof: Look at any movie that has a television clip shown onscreen. The "video" has the same softness as the rest of the movie, and definitely softer than normal video would look.)
Edge enhancing detail circuits, the way that a saturated color clips to white instead of just a saturated hue, the differing dynamic range gamma functions, and yes the frame rate, all played against a video being passed off as a "movie." The "video look" works very well for live sports, news, game shows, soap operas, and other television programming where the audience expects to see this look, but falls down when the audience expects a different, more "movie" look.
Which is why the company Filmlook came into existence, and why their process is used for most electronic cinema productions today, including most television series.
Had the audience grown up expecting the highly enhanced "video" look in the movie theater, then the "film" look would be unacceptably soft and lacking in gamma contrast.
John----- Original Message ----- From: "Craig Birkmaier" <craig@xxxxxxxxx>
Which suggests something that is very important about video. In most cases it's NOT about the resolution, its about the story. The brain can only keep up with so much information in real time; there is a huge difference between the amount of information in motion imagery, and how we comprehend it, versus the ability to study a highly detailed still image or page of text.Regards Craig
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