Frame rates & shutter: the cheat sheet
Common frame rates
| fps | Where | Feel |
|---|---|---|
| 23.976 / 24 | Cinema, most “film look” work | Classic motion blur |
| 25 | Europe / PAL broadcast, 50 Hz countries | Like 24, safe under 50 Hz lights |
| 29.97 / 30 | US / NTSC broadcast, many phones | A bit “video” |
| 50 / 59.94 / 60 | Sports, gaming, slow motion source | Very smooth |
| 100–120+ | Slow motion source | Played back slowed down |
The 180° shutter rule
Shutter speed ≈ 1 / (2 × fps): 24 or 25 fps → 1/50 · 30 fps → 1/60 · 50 fps → 1/100 · 60 fps → 1/120. Faster shutter = crisper, choppier motion (action look). Slower = more blur.
Flicker under artificial light
In 50 Hz countries (Europe, most of Asia/Africa) lights flicker 100 times per second. Use 25/50/100 fps and 1/50 or 1/100 shutter. In 60 Hz countries (Americas) use 30/60 and 1/60 or 1/120. Shooting 24/30 fps under 50 Hz LED or fluorescent light? Keep the shutter at 1/50 or 1/100 to avoid banding.
Slow motion that looks right
Shoot at a multiple of your timeline rate (50 for a 25 timeline, 60 for a 30 timeline, 100/120 for 4–5×). In Premiere: right-click the clip in the Project panel → Modify → Interpret Footage → “Assume this frame rate” = timeline rate. That gives true slow motion with no duplicated frames.
Mixed frame rates in one timeline
- Keep the timeline at the frame rate of most of your footage / your delivery.
- 25 fps clip in a 24 fps timeline: plays with an occasional skipped frame — usually fine for B-roll.
- 30 in 25 (or 29.97 in 25): visible judder on pans. Conform it (Interpret Footage) if speed change is acceptable, or use Optical Flow time interpolation for small differences.
- DAEDAL Timeline Doctor lists every clip whose frame rate differs from the sequence.
Delivery
Deliver at the timeline frame rate. Don’t convert 25 → 30 at export unless the client requires it.