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While it was true that each picture element was polled and sent only 29.97 times per second, the pixel location immediately below that one was polled 1/60 of a second later, part of a completely separate image for the next 1/60-second frame. At its native 24 FPS rate, film could not be displayed on 60 Hz video without the necessary pulldown ...
Filmmakers may originate their projects at 120, 240 or 300 fps so that it may be evenly pulled down to various multiple differing frame rates for distribution, such as 25, 30, 50, and 60 fps for video and 24, 48 or 60 fps for cinematic theater. The same is also done when creating slow motion sequences and is sometimes referred to as "overcranking."
When transferred to NTSC television, the rate is effectively slowed to 23.976 FPS (24×1000÷1001 to be exact), and when transferred to PAL or SECAM it is sped up to 25 FPS. 35 mm movie cameras use a standard exposure rate of 24 FPS, though many cameras offer rates of 23.976 FPS for NTSC television and 25 FPS for PAL/SECAM.
Shown in cinemas in 24 fps. The original 50 fps presentation is not in any home video release. Love & Pop: Hideaki Anno: Japanese: 60 Shot on digital video in interlaced 60 fps, with some scenes shot on 35 mm movie film in 24 fps. Shown in cinemas in 24 fps and in interlaced 60 fps with 24 fps segments on DVD and Blu-ray. 1999 The Blair Witch ...
This has been the color NTSC interlaced video standard since 1953. This number is sometimes inaccurately referred to as 30 fps. 30 fps High definition video; early black-and-white NTSC video Some high definition cameras can record at 30 fps, as opposed to 29.97 fps. Before color was added to NTSC video signals, the frame rate was truly 30 fps.
Every video camera that is able to record at 60 fps (e.g. Asus PadFone 2 (late 2012: 720p@60 fps [4]) and Samsung Mobile starting at the Galaxy Note 3 (late 2013) with 1080p at 60 fps, [5] labelled "smooth motion"), recorded it using the real-time method.