You can get 60 fps upconverted footage from motion interpolation to not exhibit the effect by adding copious gaussian motion blur.
The same problem (plus perceived judder due to low fps) appears if you play a video on a screen equipped with correctly tuned strobe backlight.
It's one of the reasons as to why simple kernel interpolation (blurmotion) with most kernels does not exhibit this effect either.
You’re right in that it doesn’t change the amount of blur, I’m not sure why the person you’re replying to thinks that. But it does change the aesthetic of the blur.
Perhaps they’re thinking of the issue with the Hobbit where the higher frame rate at a given shutter angle (180 let’s say) that shortened the blur compared to a traditional 24 fps film.
They adjusted this for the second hobbit film to leave the shutter open longer (not a 360 shutter, but something like a 270) to bring back some of that feeling.
They capture one *field* every 1/50th of a second, and interlace it.
The reason for this is that it was hard to scan a full 625 lines in 1/50th of a second, and it would have required ludicrous bandwidth for the AM transmitters of the day and massive output valves to drive the scan coils in TV sets which would then produced huge flyback spikes.
So the decision was to scan 312.5 lines per field, offset slightly, with each pair of fields forming one 1/25th of a second frame. Telecine was easy in the UK because you could speed the film up a little and then each TV frame would be two fields per film frame.
If you shoot 50i you can deinterlace to 25p by combining the two sets of scan lines from each field with a bit of clever processing to hide the "combing" caused by things moving between fields, or you can double it up to 50p by just copying each line out twice with a bit of clever processing to smooth out the steps. I could post some video clips showing this if you were interested.
Of course modern digital TV cameras are capable of shooting 60p as you say, but anyone shooting "telenovela" stuff is going to be shooting 60i.
This is why all your video editing software has got those ballachey 59.94/24.97 modes.
It gets worse because for telecine you need to need to show two frames of 24fps film for every three frames of video, so you need to slow your film down to 23.976fps so it fits.
Ballache.
also, i think the 3:2 pulldown (24->29.97fps) and interlacing that typically causes jitter/blurring is absent at framerates that are even multiples (30->30 or 30->60)
It felt like the camera was always bouncing and moving around randomly in a way I found very displeasing...
Though I don’t think I saw the 48fps in cinemas in Australia
to take my response from elsewhere , consider a single drawn frame impact that is held for 2 or more frames. That timing is integral to the performance.
When you interpolate, it no longer holds the right amount so the performance changes.
People may scoff at that, but it’s a huge deal for artists. It was hell when we had dailies and motion smoothing on one of the TVs turned on (if we weren’t using screening rooms). Suddenly all the notes were different and acting didn’t feel right.