DiGuru said:
So, at what fps do you think a further increase wouldn't be noticeable?
I've conducted quasi-scientific tests
(single blind) on Q3 players, that unequivocally showed that 125 fps was not enough to be unnoticeable.
Actually, it's pretty easy to calculate - assume 90 degrees FOV, assume 1600 pixelhorizontal resolution, => how fast your angular motion can be before you exceed single pixel frame-to-frame. Change around the number of pixels allowed to jump to find different allowed angular velocities. This will show you that the frame rate necessary to avoid artifacting is
high.
There's a difference between movies and games in whether motion blur can be used to alleviate the visual problems of limited frame rate. As Chalnoth pointed out, in games it is typically not possible to say what the player will track with his eyes. When an attacker sweeps in from the left, it is an terrible assumtion to make that the player will keep his eyes fixed at the center of the screen, and blur the attacker accordingly. Nor can the game assume we follow that attacker and that we won't instead follow attacker B sweeping in from the right. Motion blur, with trivial exceptions such as blurring the audience in racing games (where we can assume the player largely tracks the tarmac), just doesn't make sense in games.
PS. Limited framerate is a HUGE problem in motion pictures too. It is handled, sometimes skillfully, sometimes less so, simply by not letting any object of interest move quickly across the field of view.
I quote Martin Scorsese:
"As it is, filmmakers know that any pictorial
element that moves across the frame too briskly will
fragment into blurred, jagged, “strobing†pieces. So we
have rules (frequently ignored) about how quickly any
given lens can be panned, or how quickly an object can be
allowed to travel from one side of the frame to the other
in order to prevent these motion distortions. We are
forced to “pan†moving objects (which keeps them stationary
in the frame) in order to prevent this strobing, or
accept these distortions and hope that sound effects will
carry the viewer’s suspension of disbelief past these
visual anomalies."