The Apex of Hyper-Realism
120 frames per second (fps) is a frame rate five times higher than the cinematic standard of 24 fps. Its use in filmmaking represents a significant technological and aesthetic departure from traditional cinema, aiming for a level of visual fidelity that borders on hyper-realism. By capturing 120 distinct images every second, this format drastically reduces motion blur and strobing, resulting in an image that is exceptionally sharp, smooth, and fluid. The effect is often described as creating a ‘window into another world’ due to its incredible clarity and depth, particularly when combined with 3D and 4K resolution.
Ang Lee’s Grand Experiment
Director Ang Lee is the primary proponent of the 120 fps format, having shot two feature films, Billy Lynn’s Long Halftime Walk (2016) and Gemini Man (2019), entirely in 3D, 4K, at 120 fps. This endeavor was a massive technical undertaking, requiring new camera systems, a completely revamped post-production pipeline, and specialized projection systems in theaters.
A Divisive Aesthetic
The reception to 120 fps has been highly polarized. Proponents praise its immersive quality and the stunning clarity it brings to action and spectacle. However, a significant portion of audiences and critics have reacted negatively, arguing that the hyper-realism shatters the ‘cinematic dream.’ The lack of familiar motion blur can make sets and performances look artificial, a phenomenon often called the ‘soap opera effect.’ The extreme clarity can feel jarring and overly revealing, breaking the suspension of disbelief that is central to the cinematic experience. Due to the limited number of theaters capable of projecting it, very few people have ever seen these films in their intended native format.