from Cinegraphic.net:

Frame Change Rate

story  Michael Betancourt, March 15, 1998 all rights reserved.

URL: http://www.cinegraphic.net/article.php?story=20170724095554877


the speed at which an image changes conditions our experience of it as a temporal object: we can only see things in real time* to perceive changes happening in real time (life) we must produce movies which condense the real time into a sped-up version for gradual changes (real time) to become visible to us in real time
[* which is to say the speed at which we as humans live and interact]

an image change rate of 1 frame per day would be invisible to us as movement until projected at some faster rate (above 18 fps for smooth movement) we can only see change rates happened when they are below our visible threshold -- approximate 12 fps

(which is faster than real time change rates) change rates which are equivalent to real time (or slower) we cannot perceive expect as real time.* This is why narrative dramatic film can compress real time without causing the audience to be confused: movies already are a compression of real time

all frame change rates are related to real time experience, so they can be seen in real time -- they are abstractions of that real time experience and so are understood by the audience in those terms -- as artificial time

	frames per second
	frames per hour
	frames per day			the speed at which paintings, trees, etc.
	frames per week		change is measured at a rate much 
	frames per month		slower than what we see in real time
	frames per year		(i.e. we cannot see it change by sitting and
	frames per decade		watching except in unusual circumstances)
	frames per century
	frames ad infinitum...
* the threshold point has something to do with the physical properties of our nervous-cognitive system, which has evolved to perceive the world at a specific rate, the zero point called 'real time.' Movies appear to move because their change-rate is faster than real time, while statics (if they change) change at a speed much slower than real time.


Copyright © Michael Betancourt  March 15, 1998  all rights reserved.

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