HFR and 8k require rewriting the rules of set design, makeup, lighting and post-production for non-documentary work as they expose the artificiality of fictional narrative. Rather than feeling like you're in the movie, you feel like you're on the set, seeing all the fake backdrops, cables, and acne. HD (and 4k) had similar issues, but not to the extent that HFR and 8k does. Although both HFR and high resolutions do work extremely well for sports and nature documentaries where suspension of disbelief is unnecessary, at the moment both are worse for narrative filmmaking using current techniques.
The Hobbit (shot 48fps 5k 3D)had mixed results using HFR. The scenes shot on location with less CGI looked awful (like low budget early 80s BBC mid day dramas) while the green-screen, heavy CG scenes felt like being in a video game (in mostly a good way). Billy Lynn's Long Halftime Walk (shot at 120fps 4k 3D) looked absolutely horrible, like early HDCam home movies. It was impossible to get swept up into the movie and made an ok script and good acting feel much worse than it actually was.
I do believe someone will crack the code on HFR, but it will first require the right source material (The Hobbit and Billy Lynn's Long Walk Home were not it). I suggest utopian sci-fi or something set in a sterile environment. But even beyond that they have to figure out the lighting, makeup and set-design (and the extra burden HFR and 8k puts on post-production, especially for CGI/VFX).
One element that actually helps make a film feel cinematic is a slight softness to the image. The best looking digital cinema uses on camera filters and/or post-process to help achieve this look that comes naturally from film shot at 24fps.
Younger audiences who've grown up on HD and HFR video games are less bothered by the differences, but audiences usually don't really know what they want until they see it (one reason that early audience feedback is poison to the process).
background note: 20years experience working in production and post-production
I don't like the "feel cinematic" argument. It's rather circular: what feels cinematic is defined by what we're used to, so of course anything new won't feel the same. That's not an argument against the change, unless you want everything to stay static forever.
As for the rest, I don't doubt that it's hard, requires new techniques, isn't always the best choice, etc. But I don't buy this idea that it's always worse. Which doesn't seem to be the argument you're making, but it is the one I was responding to.
I'm getting a lot of good arguments about why certain videos should be shot using less than the maximum possible. But that's quite different from saying 8k and HFR is just plain worse.
The Hobbit (shot 48fps 5k 3D)had mixed results using HFR. The scenes shot on location with less CGI looked awful (like low budget early 80s BBC mid day dramas) while the green-screen, heavy CG scenes felt like being in a video game (in mostly a good way). Billy Lynn's Long Halftime Walk (shot at 120fps 4k 3D) looked absolutely horrible, like early HDCam home movies. It was impossible to get swept up into the movie and made an ok script and good acting feel much worse than it actually was.
I do believe someone will crack the code on HFR, but it will first require the right source material (The Hobbit and Billy Lynn's Long Walk Home were not it). I suggest utopian sci-fi or something set in a sterile environment. But even beyond that they have to figure out the lighting, makeup and set-design (and the extra burden HFR and 8k puts on post-production, especially for CGI/VFX).
One element that actually helps make a film feel cinematic is a slight softness to the image. The best looking digital cinema uses on camera filters and/or post-process to help achieve this look that comes naturally from film shot at 24fps.
Younger audiences who've grown up on HD and HFR video games are less bothered by the differences, but audiences usually don't really know what they want until they see it (one reason that early audience feedback is poison to the process).
background note: 20years experience working in production and post-production