> 4 minute read

Understanding Frame Rates

Frame rates are some of the most important technical aspects of videography. Although it sounds complicated, there are a few simple rules that will help demystify the concept.

Since the invention of cinema, the illusion of moving pictures has been created by playing back a series of still photos very quickly – so quickly, in fact, that the viewer’s brain is tricked into thinking the image is moving. These pictures are known as ‘frames’ and can be produced in all kinds of ways: analog movie film cameras, digital video cameras, animation with models, and even computer graphics are all used to produce the moving images we watch on our smartphones, TVs, and computers – as well as in cinemas, of course.

The question is: how quickly do we need to record and play back individual frames to produce a good-quality moving image? We measure this with frame rate ­­– ie the number of frames recorded or played back every second. In the early days of silent movies, this was somewhere between 14 and 26 frames per second (fps) depending on how quickly the camera operator turned the crank handle on the film camera, and how quickly the projectionist was cranking the projector’s handle during playback. As you can imagine, the results were a little jerky!

When cinema with sound came along, movies needed a consistent frame rate if they were ever going to be any good, and 24fps was agreed as a standard – partly because it was fast enough for convincing reproduction and partly because it didn’t use up too much film, which kept costs down.

Since then, we’ve all got used to 24fps, which is why it’s one of the options your X Series camera offers for video capture. You can set it from the camera’s MOVIE SETTING > MOVIE MODE menu, which also gives you access to other frame rates, all of which can be used for specific creative purposes.

25 Frames per Second

This is the standard frame rate for European/PAL television broadcasts. It’s also half the rate of the 50Hz frequency of European mains electricity, which makes 25p a good choice for filming under artificial light in such countries, where flickering light could otherwise be a problem.

29.97 Frames per Second

This is the standard frame rate for North America and Japan/NTSC television broadcasts. It’s also half the rate of the 60Hz frequency of North American and Japanese mains electricity, which makes 29.97p a good choice for filming under artificial light in such countries, where flickering light could otherwise be a problem.

50 and 59.94 Frames Per Second

These frame rates are multiples of the slower 25p and 29.97p settings, so they also avoid flickering artefacts under artificial light. They are twice as fast, however, so they reproduce fast-moving motion more smoothly when footage is played back on displays that are also capable 50fps or 59.94fps frame rates.

Furthermore, by playing back 59.94fps footage at the more conventional 29.97fps or 24fps (or 50fps footage at 25fps, for that matter) we can create silky smooth slow-motion effects at around half speed. You can create the effect easily when editing footage on your computer or smart device. It’s a technique you see lots in music videos, TV dramas, and feature films.

100 and 120 Frames per Second

These frame rates achieve the same fluid-motion effects and slow-motion possibilities as 50/60fps, only more so! In fact, slow motion at one-quarter speed looks superb with footage that’s been recorded at 120fps.

Be mindful that higher frame rates consume more storage space on your memory card, so you won’t want to use 120p for everyday filming. It is, however, an excellent choice for filming things like skateboarders pulling tricks, kids crashing through the waves on the beach, and animals running at full speed.

What’s the Case for 24fps?

With all these state-of-the-art options available to us, what’s the case for recording 24fps footage? Well, because we’ve become used to seeing movement reproduced at 24fps in Hollywood films and big-budget TV box sets, drama can look a bit strange when recorded or played back at higher frame rates.

You might have seen this firsthand if you’ve ever played a Hollywood film on a cutting-edge TV that plays back at 60fps – it looks more like a soap opera or documentary than a piece of art house cinematography. The solution with your TV is the same as the tactics you can use with your X Series camera: set 24fps for the most cinematic results when this is the most important outcome.

Your Next Steps

• CHALLENGE Try recording a fast-moving video at 50fps or 60fps, then play it back at half speed for some cool slow-motion footage. Post your results to social media with the hashtag #learnwithfujifilm and #slowmotion. You can also submit your work here for a chance to be featured on our social media channels.