Why 120 FPS Makes “Billy Lynn’s Midway Battle” Feel So Real

Recently a film called Billy Lynn’s Midway Battle has attracted huge attention not because of box‑office records or star power, but because of its striking realism.

The discussion centers on a classic debate in cinema: should movies depict reality or create a dreamlike world? Director Ang Lee attempts to answer this by using the most realistic techniques to craft an almost illusory dream.

Why the “Dream‑Maker” Chose 120 fps

Most viewers are unaware of a film’s frame rate. While many focus on resolution (720p, 1080p, 4K) or audio formats (Dolby, DTS), the frame rate—how many static images are shown per second—remains obscure.

After a presentation by motion‑design expert Yao Kang , it became clear that the ticket price reflects this technical choice.

How Movies “Move”

Psychology introduces two concepts: apparent motion and the critical flicker‑fusion frequency . Apparent motion occurs when static images are perceived as continuous movement, a phenomenon first studied by German psychologist M. Weithamer.

Examples include seeing a cigarette ember move in darkness (self‑motion), the moon seeming to drift behind clouds (induced motion), or distant scenery appearing to rise after watching a waterfall (motion after‑effect). In film, a series of slightly different static frames creates motion‑picture motion .

Our brain stitches these rapid frames into a seamless scene, but how fast must the frames be for the illusion of continuity?

Flash‑fusion explains this: when a stimulus is presented intermittently at frequencies above the critical flicker‑fusion threshold (about 50 Hz), observers perceive a continuous light. Typical fluorescent lights operate at 100 Hz, appearing steady.

Standard cinema uses 24 fps (24 Hz), far below the 50 Hz threshold, which could reveal the “movie illusion.” However, most projectors display each frame three times, effectively showing 72 static images per second, masking the discontinuity.

Early cinema discovered that a single‑blade shutter at 16 fps caused noticeable flicker, leading to double‑blade and later triple‑blade shutters to reduce flicker.

Given that 24 fps has persisted for decades, why did Ang Lee push to 120 fps?

Higher frame rates increase smoothness; 120 fps offers far greater fluidity and clarity than the traditional 24 fps used in most 3D films. This creates an immersive experience likened to a nearsighted person putting on glasses for the first time.

Achieving 120 fps required extensive changes across the production pipeline—from camera work and lighting to makeup, set design, acting, editing, and projection—essentially a complete re‑learning of the filmmaking process.

While 120 fps suits high‑action or sci‑fi genres, Ang Lee applied it to a realistic war drama, using close‑ups to capture subtle emotions, thereby demonstrating that cutting‑edge technology can serve artistic storytelling.

Recent advances such as 3D, 4K, VR, and 120 fps are reshaping cinema, allowing audiences to immerse more deeply in a film’s core.

Motion Design Is Everywhere

Beyond directors and actors, motion‑designers play a crucial role in both everyday interfaces (e.g., iPhone swipe) and blockbuster explosions, highlighting the pervasive influence of motion design in modern media.