Today, 24p formats are being increasingly used for aesthetic reasons in image acquisition, delivering film-like motion characteristics.
24p material requires care when it is processed using equipment designed for standard video frame rates.
This method incurs no motion artifacts other than the slightly increased speed, which is typically not noticeable.
30p can be preferable over 24p since performing a standards conversion to 25i PAL has fewer technical complexities – any NTSC–PAL converter will do.
[2] 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.
Because sound is recorded separately from moving pictures in 24p projects, there are no problems regarding synchronization or audio pitch: the audio material is simply ingested separately from the moving picture material at its natural rate, and synchronized within the non-linear editor.
Working with 24p material via video equipment working at NTSC frame rates has many of the same attributes as the 24 frame/s workflow, but is more complicated by the NTSC-rate practice of using telecine pull-down rather than the PAL practice of transferring 24 frame/s material at 25 frame/s.
This comes from the proper longhand designation being vertical resolution, followed by the interlaced/progressive notation, and then the frame rate.
However, this is not ideal; the removal of the 3:2 pulldown involves reconstruction of every fourth frame from two different field groups, which can cause a generational loss and some banding problems if the application doesn't interpret the footage properly.
Many but not all prosumer and professional-level non-linear editing systems are able to recognize and remove this advanced pulldown scheme.
To add to confusion, the popular editing program Final Cut Pro refers to 23.976 as "23.98" in menus and dialogs, even though it correctly works with the footage at the 23.976 frame rate.
Deinterlacing can remove these artifacts, but certain methods will cause up to half the footage's vertical resolution to be lost.
The resulting footage is much smoother because it simulates equal exposure time between frames.
This preserves all of the footage's temporal information, which is key in determining what the "missing" points in time should look like when converting to 24 frame/s.
It uses all of the temporal information in 50i or 60i footage to create the equivalent of a slow motion sequence shot at 50 or 60 frames per second, respectively.
AviSynth performs the deinterlacing, then frameserves the 60p half-resolution result to VirtualDub for further processing (specifically, adjusting field height using the "field bob" filter, resizing back to full resolution and then outputting at 24 frame/s).
The reason AviSynth must be used is because VirtualDub cannot split the fields into a 60p sequence on its own, and this technique requires 60p input.
With NTSC equipment, it is impossible to display a 24p signal directly as the monitors only support the 60i framerate.
In the 2:2:2:4 pulldown scheme, used as a choice primarily by Apple's Final Cut Pro v7 and earlier, every fourth frame is repeated.
This scheme is easier for slower hardware to implement as it requires less processing, but it introduces significant judder due to frame duplication.
Many monitors now support signal processing at 120 Hz or higher, allowing 24p content to be displayed without judder by showing each frame for a fixed number of refresh cycles.
Choosing a rate other than 24 frame/s would compromise this widely accepted method of conversion, and make it difficult for film producers to access international markets".
In traditional back then television broadcast and VHS, the video stream has 3:2 pulldown already added.
It is also noteworthy that the camera records HD footage, complete with clip information, to static P2 memory cards instead of tape.
Nevertheless, even in NTSC regions, film productions are often shot at exactly 24 frame/s (this is called integer frame rate), especially for DCI.
[13][14] Both HD DVD and Blu-ray Disc support the 24p frame rate, but technical implementations of this mode are different among the two formats.
48p has twice the motion resolution of 24p, but also requires more bandwidth, data storage, and potentially illumination level.
Peter Jackson's three part film The Hobbit is a production that makes use of the 48p frame rate,[18] but 48p was never used on Blu-ray or streaming platforms, only in cinemas.
Other movies, however, have been released at higher framerates on Blu-ray (such as Billy Lynn's Long Halftime Walk).
Some current, best-of-breed professional video cameras provide 120 frame/s progressive capture, which is 5 times 24p and can be converted to 24p, 30p, 50i, and 60i/p with editing options and precision in motion shots.