Barco demonstrated for the AP footage of training boxers shot at 120 frames per second. The impact is a stunningly real picture that makes it seem as if you're looking through a giant window onto the real world.
Not all filmmakers will choose to shoot this way, but they'll increasingly have the option to create different moods. Think of how slow-motion scenes can seem more dramatic, or intentional strobing as seen in "Saving Private Ryan" or "Gladiator" can relay a sense of confusion.
"That's where the creatives will have these options and tools at their disposal and decide whether they're going to capture and present at 48, 60 or maybe 120," said Patrick Lee, Barco's vice president of digital cinema.
David Mullen, a cinematographer who has shot movies such as "Jennifer's Body" and "Akeelah and the Bee," said higher frame rates could be better for authentic settings, but could make the artifice of fantasy tales "more obvious rather than more believable."
One solution, he said, is "just do everything better in terms of stage craft and post effects."
Associated Press writer Nicole Evatt in New York contributed to this report.
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