The thing is, says technical maven Dominic Case, “the closer a film gets to reality, the easier it is to see that it’s unreal.” And the more likely at huge snarky debate on the net, which leads him to a lucid account of frame rates.
Would Alfred Hitchcock have shot Psycho at 48fps if anyone had thought of it back then?
I suspect not. For technical reasons, he’d have had trouble finding cameras to run at that speed, even though it might have been possible to modify some types of projector. For budget reasons, certainly not: double the negative stock cost, increased lighting cost for an extra stop of exposure, and double the cost for each print.
