> Things like lens flares, motion blur, film grain, and shallow depth of field are mimicking cameras and not what being there is like
Ignoring film grain, our vision has all these effects all the same.
Look in front of you and only a single plane will be in focus (and only your fovea produces any sort of legibility). Look towards a bright light and you might get flaring from just your eyes. Stare out the side of a car or train when driving at speed and you'll see motion blur, interrupted only by brief clarity if you intentionally try to follow the motion with your eyes.
Without depth of field simulation, the whole scene is just a flat plane with completely unrealistic clarity, and because it's comparatively small, too much of it is smack center on your fovea. The problem is that these are simulations that do not track your eyes, and make the (mostly valid!) assumption that you're looking, nearby or in front of whatever you're controlling.
Maybe motion blur becomes unneccessary given a high enough resolution and refresh rate, but depth of field either requires actual depth or foveal tracking (which only works for one person). Tasteful application of current techniques is probably better.
> High FPS television can feel cheap while 24fps can feel premium and "filmic."
Ugh. I will never understand the obsession this effect. There is no such thing as a "soap opera effect" as people liek to call it, only a slideshow effect.
The history behind this is purely a series of cost-cutting measures entirely unrelated to the user experience or artistic qualities. 24 fps came to be because audio was slapped onto the film, and was the slowest speed where the audio track was acceptable intelligible, saving costly film paper - the sole priority of the time. Before that, we used to record content at variable frame rates but play it back at 30-40 fps.
We're clinging on to a cost-cutting measure that was a significant compromise from the time of hand cranked film recording.
</fist-shaking rant>