Frame Rates: Do Not Shoot 24Fps

frame rates, frame rate, 24fps, 24p, 30fps, 25fps, 25p, 16fps, frames per second

Frame Rates: Times When You Should Not Shoot 24Fps

The term “frame rate” is used to indicate the number of individual frames or images that are displayed per second in a film, television or computer game.

From the late 1920s, 24 frames per second has been the standard frame rates used for film, while 30 or 25fps is the standard used for TV.

24 frames per second was chosen not because it is the minimum or maximum frames the human brain can process, but because it is the middle ground between quality and cost (using higher frame rates would increase the size of the video and therefore the cost, while using lower frames would negatively affect the quality).

Nowadays, filmmakers are trying out shooting at higher frames per second. An example is director Peter Jackson who should The Hobbit at 48fps, and James Cameron who has revealed he will be shooting Avatar 2 at 60 frames per second.

The good folks over at Aputure created this video that goes deep into frame rates.

Although there is criticism about this new development, Cameron argues that shooting at higher frame rates enhances 3D feel and clarity. Whichever side you’re on, here are 8 times when you may consider shooting at frames different from 24fps:

1. If you are making Old fashioned films (16fps)

If you are shooting retro movies, you do not want to shoot at 24fps.This is because in those days, films were shot at 16 frames per second. So if you are trying to recreate that vintage look, 16fps should be your frame rate.

2. Classic Animations (12fps)

Back when cartoonists had to painstakingly draw every picture, animations were created in 12fps instead of 24. Nowadays, CGI makes it possible to create animations at whatever frame rate you like. Animators who want to create the classic look still shoot 12fps.

3. Action Sequences (21/22fps)

If you are shooting action Sequences, you should shoot at a slightly lower rate than 24fps. This way, the action looks more intense and fast when played at 24fps.

4. If you Want The Video Look (30fps)

Most TV broadcasts are aired at 30fps (for NTSC broadcast). This “TV look” at 30 frames per second has been adopted by filmmakers filming sitcoms, soap operas, and reality television.

5. When Shooting Commercials or Epic B-rolls (60/120/240fps)

If you are shooting for commercials or B-rolls, you may want to consider shooting at these frame rates. This is because shooting at these rates allow you to slow the footage down, which is common in commercials and B-rolls.

6. Ultra HD Films

Ever since Peter Jackson shot and released The Hobbit: An unexpected journey at 48fps giving the movie an ultra realistic film look, other filmmakers have also started shooting at higher frame rates.

7. Sports (300fps)

The frame rate for sport is much higher than 24fps. It is actually 300fps. Shooting at such a high frame rate allows the footage to be slowed down by one-tenth of its frames to fit TV broadcast frame rate of 30fps. It also allows viewers to watch the action at higher frame rates during high speed replay.

8. Science (Super High FPS)

When shooting for science, you have to shoot at super high frame rates. This is necessary so scientists can better observe things like explosions or cellular division. Scientists at NASA have a camera that can shoot at one trillion frames per second used, to study the motion of light.

So there you have situations that will require you to shoot at frame rates different from 24fps.

Check out this video by Filmmaker IQ, the history of frame rates.

Download Your FREE
End Credits Photoshop Template

This is the same template I've used on countless feature films. Just download, open in photoshop and add your credits. 

If cinematography is your thing, I’d suggest you take a listen to these knowledge filled podcasts.


Filmmaking Resources:


If you like Frame Rates: Do Not Shoot 24Fps, then click below:

Vintage Camera Lens, asc, Old Fast Glass, Vintage Cinema Lens Library, ShareGid, BlackMagic Cinema Camera, Cine Lenses, Cinema Lenses, cinematography, DOP, DP, film lenses, Matthew Duclos, photo lenses,

Matthew Duclos, Cinema Lenses, Cine Lenses

lenses, Eyes Wide Shut, Tom Cruise, Nicole Kidman, Full Metal Jacket, STANLEY KUBRICK, indie film, filmmaking, indie film hustle, Clockwork Orange, Lolita, The Killing, The Shinning

types of lenses, CAMERA LENSES, Suki Medencevic ASC, cinematography, american society of cinematographers, cinematographer, film school, independent film, moviemaker, guerrilla filmmaking, indie film, film crew, cinematography, short films, film, filmmaking stuff,

Suki Medencevic ASC, cinematography, american society of cinematographers, cinematographer, film school, independent film, moviemaker, guerrilla filmmaking, tarantino, indie film, film crew, cinematography, short films, film festivals, screenwriter, screenwriting, filmmaking stuff,


Enjoyed Frame Rates: Do Not Shoot 24Fps? Please share it in your social networks (FacebookTwitter, email etc) by using social media buttons at the side or bottom of the blog. Or post to your blog and anywhere else you feel it would be a good fit. Thanks.

I welcome thoughts and remarks on ANY of the content above in the comments section below…


Get Social with Indie Film Hustle:
Facebook: Indie Film Hustle

Twitter: @indiefilmhustle 
Instagram: @ifilmhustle

YouTube: Indie Film Hustle TV
Podcast: IFH Podcast
Podcast: Film Festival Hacks Podcast
IFH: Filmmaking Hacks

SaveSave

SaveSaveSaveSave

Facebook Comments

2 Comments

  1. Garug Garuson on October 14, 2017 at 7:52 am

    Well there is one important case missing, when you are shooting material that is mostly viewed with computer or phone. Those are mostly 60 Hz display and do not display 24 fps well, no problem with 30 fps.



  2. Paul Spurrier on October 21, 2017 at 5:20 pm

    This is appallingly bad information. Firstly, and most importantly, you should look at the delivery requirements of your project. if you shoot at a frame rate that is not acceptable to your broadcaster / outlet / market, you could easily find that your project is simply rejected. For example, try delivering (as the article suggests) an ‘old-fashioned’ film look to your distributor/broadcaster/cinema etc. at 16fps. They will think you are insane! Even most online video services don’t support 16fps. You would have to speed the footage up in post-production to an acceptable frame-rate. And guess what that would be: 24fps. But then everything will be speeded up, which is NOT how silent films appeared to audiences.

    Secondly to say that you should shoot action sequences at 21/22 fps is stupid advice. Yes, some directors like to do this on action shots, but there are also many directors – and action fans – who eschew this practice as looking fake and unrealistic. Certainly, do tests, consult with your cinematographer, and work out whether you like this style, and for which shots, but it is very ignorant of the article to say you ‘should’ do this.

    Thirdly, the article implies that directors stylistically choose a ‘TV Look’ for their reality shows etc. Again, this is rubbish. It comes back to my first point – they are simply delivering what the broadcaster demands. The article also does not mention the concepts of progressive and interlaced, which are important to understand if you’re going to understand the ‘traditional’ TV Look.

    Shooting commercials at high-speed. Again, this is dangerous information. If you shoot at high frame rates, you are compelled to shoot at high shutter speeds, and if you drop frames to bring that footage back to a ‘normal’ speed, you will often find that your footage looks ‘jerky’ like the opening of ‘Saving Private Ryan’. Motion blur can be introduced in post, but it’s not perfect. It is far better to actually plan ahead which shots are slow motion, and shoot only those at high-speed.

    My advice would be absolutely the opposite to this article.

    ALWAYS shoot at 24fps, unless
    a. The delivery requirements specifically ask for something different
    b. You are making a creative decision after consulting with the DP and the Editor and ensuring that doing this will not lower quality or violate delivery requirements.

    This is a classic case of ‘a little knowledge is a dangerous thing’ and irresponsible to be publishing it.