If you think about how light falls off in proportion to the square of its distance from the source—and that generally actors don’t stand in one place, but move through large spaces where they must appear to be lit evenly—you start to see that this is not just a question of “efficient LED lighting.” Shooting at high frame rates requires an enormous amount of light that cannot easily (read: cheaply, quickly, without higher expenses) be brought to bear in a normal production outside of controlled studio conditions.
Unless you are James Cameron shooting Avatar III on a soundstage with (close to) a blank-cheque from the studio, you are still limited in terms of space (the constraints of the location given the size of the light and its supporting stand), time (the time to set up and adjust each light properly, including last-minute adjustments), labor (someone’s got to plug all that in, run the cables, etc.), and cost/availability (you don’t always get the lights you want for a given budget).
Beyond that, you’re also considering aperture and ISO from a creative standpoint; maybe you don’t want to shoot wide open for reasons of image control, and so you may spend your lumen budget on ensuring that a particular scene can be exposed at, say, f/5.6 at ISO 100. Or you may want to spend your lumens on lens filtration, which produces a specific effect but further cuts down the incident light.
In short, no, you do not have 10x light available to spend on frame rate, and for any marginal gains in raw output, most cinematographers are thinking about what creative choices it opens up for the film; I would never burn additional lumens to shoot at 120fps just for the sake of A/V fanboys on the internet, unless the scene requires slow-motion or high-speed capture for postproduction reasons. Technical choices in this industry should always be motivated by the need to solve creative problems effectively, quickly, and within budget.
Obviously you can make 60+ FPS cinematography work well, games do it all the time. But whether that's practical in live action, I'm not sure. I certainly haven't seen an example that didn't make me cringe yet. Even in non-cinema settings, such as on YouTube, the presentation style usually needs adjusting a bit.
Speaking of, I do wish that all the cinematography-focused content creators on YouTube stopped using 24 and 30 FPS out of vanity though at least... Though it would help if YouTube rolled out support for HFR (120+ fps) as well, so that those who include 24p movie snippets don't need to compromise.
I'm not aware of any movies shot in non-interleaved 120fps (AFAIK all the movies advertised as "120fps" are 2*60fps stereoscopic with the frames interleaved between the eyes). Considering how much better games look in high frame rate compared to 60fps I'd love to see a non-interleaved 120fps movie.
I think Billy Lynn's Long Halftime Walk? Although I'm not sure if you can actually watch it at 120fps.
> To accommodate the film's wide release, various additional versions of the film were created.[3] They include 120 fps in 2D and 60 fps in 3D as well as today's current standard of 24 fps. The film also received a Dolby Cinema release, with two high dynamic range versions that can accommodate 2D and 3D, with up to 120 fps in 2K resolution.
https://en.wikipedia.org/wiki/Billy_Lynn%27s_Long_Halftime_W...