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In the United States and other countries where television uses the 59.94 Hz vertical scanning frequency, video is broadcast at 29.97 frame/s. For the film's motion to be accurately rendered on the video signal, a telecine must use a technique called the 2:3 pull down (or a variant called 3:2 pull down) to convert from 24 to 29.97 frame/s.
Variable frame rate (or VFR) is a term in video compression for a feature supported by some container formats which allows for the frame rate to change actively during video playback, or to drop the idea of frame rate completely and set an individual timecode for each frame.
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.
Also, other patterns have been described that refer to the progressive frame rate conversion required to display 24 frame/s video (e.g., from a DVD player) on a progressive display (e.g., LCD or plasma): [11] 24 frame/s to 96 frame/s (4× frame repetition): pulldown is 4:4; 24 frame/s to 120 frame/s (5× frame repetition): pulldown is 5:5
Two sizes of images are typically used: 1920×1080 ("1080i/p") and 1280×720 ("720p"). Confusingly, interlaced formats are customarily stated at 1/2 their image rate, 29.97/25 FPS, and double their image height, but these statements are purely custom; in each format, 60 images per second are produced. A resolution of 1080i produces 59.94 or 50 ...
The process of transferring 24 frame/s video at 25 frame/s rates is also the most common method for ingesting 24p film rushes into a non-linear editor.The resulting 25 frame/s video can then be transferred into a non-linear editing system at 25 frame/s, maintaining the 1:1 frame correspondence between film frames and video frames.
Television standards conversion is the process of changing a television transmission or recording from one video system to another. Converting video between different numbers of lines, frame rates, and color models in video pictures is a complex technical problem.
A few film formats have experimented with frame rates higher than the 24 fps standard. The original 3-strip Cinerama features of the 1950s ran at 26 fps. [3] The first two Todd-AO 70 mm features, Oklahoma! (1955) and Around the World in 80 Days (1956) were shot and projected at 30 fps. [4] Douglas Trumbull's 70 mm Showscan film format operated ...