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The information in between will not be real or new in any way but the artistic result with ramping in an editing suite can create impressive results.Īpplications that Support Optical Flow or Interpolation:

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In our tests, recording at 1000fps can yield 2000fps nearly artifact free and up to 5000fps without extreme distortion. Ghosting and morphing artifacts will still be there no matter what but will be harder to spot if your initial capture frame rate is high. The sweet spot is 480fps to get that push up to 1500fps without much artifacting. We suggest a bare minimum of 120fps to start experimenting further.

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As an artistic result, we can definitely recommend interpolation software if your initial frame rate is already high-speed, to begin with. Interpolation has been used in Hollywood within movies for decades by shooting high-speed first and then interpolating the result for even slower frame rates. Human motion, nature, simple backgrounds, animation and other footage can make high-speed footage shine even more. For example, a video shot at 1000fps can be easily transformed to a 5000fps video with interpolation while maintaining most of the apparent esthetics with minimal artifacts. Interpolation then can create a breathtaking result for video editors and artists that can translate to derived frame rates in the thousands of apparent frames with little distortion. The real power of the interpolation can be used on slow motion shots that are already captured at frame rates above 500fps for example. That doesn’t mean the technique is useless. Interpolation artifacts can ruin a shot! The faster the frame rate captured as the source the better the results! Notice the Dice Circle marks become distorted when applying a nearly 400% frame rate increase from a 120fps video source. You need a real high-speed camera for these markets. Scientific labs, industrial manufacturing lines, car crash testing, nature phenomena, biological study of the animal world, fluid dynamics, electricity propagation, engineering tests, sports analysis, material failure and many more fields cannot be studied with frame interpolation. There is no substitute for hardware dedicated to recording microsecond events. In order to study a real physical event, you need true slow motion, that only high-speed cameras can achieve. Interpolation the dreaded “i” wordin high-speed imaging circles is simply making up information that is not captured in the first place. We at HSC are no fans of Optical Flow, Twixtor or similar algorithms because what makes real slow motion shine is peering into time frames that are too fast for regular cameras to see. You may get excellent results if you can tame the urge to go overboard and go for the slowest frame rate possible.

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In the video above you can see a good rundown of the Optical Flow feature in Premiere Pro from Adobe software.

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How to FAKE Slow Motion with ANY camera!! by Peter McKinnon:

Results may be terrible or bad depending on subject matter, initial frame rate or shot composition.

No substitute for shooting real high frame rates.

Computation/rendering can take a long time, especially in 4k.

You may need to shoot at 60fps or above to get better results.

Blue Sy, Single color Background or black/white backdrops.

Works better on footage with simple backgrounds i.e.

Can make footage look weird or unusable at certain speeds.

Artifacts will be created that may deform the image in unforeseen ways.

Not scientifically usable or of value in the lab.

Frame information derived from interpolation is not producing a real event.

Can extend a shot to fit an edit better or extend real slow motion above and beyond what is possible in camera.

The audience may not see the difference between this and the real thing.

Free to experiment without re-shooting.

Very inexpensive, already bundled on many editing applications.

You can save from buying or renting a high-speed camera.

You will get slower footage from any frame rate.

The results can do some wonders to really slow down things above the frame rate ceiling of the camera.

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Today the most used algorithm is Adobe’s Optical Flow in Premiere or Time Warp in After Effects which use vector directional plus acceleration of pixel values to derive in between frame data to generate new frame information from the preceding frame as point A and the next frame as point B. Twixtor in the late 90’s was perhaps the first time the technology could make something worthwhile and really produce acceptable results in a computationally acceptable timeframe. There has been a lot of work put it developing software that can interpolate frames for video editing and compositing applications.