Home » Japan’s N multi-theater equipment is outdated and cannot play the 48-frame version of “Avatar 2”: fans refund tickets on a large scale–fast technology–technology changes the future

Japan’s N multi-theater equipment is outdated and cannot play the 48-frame version of “Avatar 2”: fans refund tickets on a large scale–fast technology–technology changes the future

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Japan’s N multi-theater equipment is outdated and cannot play the 48-frame version of “Avatar 2”: fans refund tickets on a large scale–fast technology–technology changes the future

Japan’s N multi-theater equipment is outdated and unable to play the 48-frame version of “Avatar 2”: large-scale refunds for fans

2022-12-27 19:38:29 Source: Fast Technology Author: Wan Nan Editor: Wan Nan Comment()Click to copy the title and link of this article

Judging from the screening rate, “Avatar 2: The Way of Water” is the biggest project in Japanese theaters in recent years. However, in the first weekend of its release, the film did not top the box office chart.

One of the reasons is that apart from the unique status of the theatrical version of “Slam Dunk” in the hearts of Japanese movie fans, another reason is a bit embarrassing.Because many projection equipment did not support it, “Avatar 2” was played in some theaters down to 24FPS, and large-scale ticket refunds occurred as a result.

It is reported that not many theaters in Japan support the playback of high frame rate 48FPS movies, because this requires updating a full set of projection equipment.

According to the production company, “Avatar 2: The Way of Water” provides multiple formats such as 2D 48FPS, 3K 48FPS and regular 24FPS. However, “Avatar 2” is not 48PFS for the whole process, and some dialogues and literary scenes will be presented in the traditional way of 24FPS.

According to the data, in order to take care of 35mm film, the film industry has used 24FPS (24 frames) as the standard for more than 90 years, until Peter Jackson’s “The Hobbit” series was shot and projected at 48 frames for the first time, giving the film industry Bring a new visual effects revolution.

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Editor in charge: Wan Nan

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