Why 24 fps isn’t automatically cinematic, why 60 fps isn’t automatically “soap opera,” and how to choose the right frame rate for the shot you’re actually filming.
TL;DR
- Frame rate controls how often you sample motion — how many times per second you take a picture.
- Shutter angle (the relationship between frame rate and shutter speed) controls motion blur, which drives the feel of movement.
- The classic “cinematic” feel usually comes from ~180° shutter at 24–30 fps, plus choices in camera movement, lighting, grading, and subject matter.
- 24 fps can look jittery and awful in fast pans or sideways-moving car shots without sufficient motion blur.
- 60–120 fps can sometimes look hyper-real because temporal resolution is higher and blur is usually reduced, but you can easily tame this with larger shutter angles and post choices.
- Choose frame rate based on subject speed, intended playback (real-time vs slow motion), file size, heat, and post flexibility.
1) Foundations
Before we get into the theory, it’s helpful to understand how these foundational concepts link directly to practical shooting decisions later in the article. Each technical element you’ll see here — frame rate, shutter angle, and ND filters — will show up again in real-world examples.
Frame Rate
Definition: Number of frames captured per second (fps). This determines temporal resolution — how many moments in time you record each second.
What it changes: Motion smoothness and slow-motion capability.
What it doesn’t: It doesn’t directly determine blur; that’s controlled by the shutter-to-frame-rate ratio.
Shutter Angle / Shutter Speed
Historically, filmmakers described exposure time using shutter angle because early film cameras used rotary shutters — spinning discs with openings measured in degrees. The angle determined how long light hit each frame relative to frame rate. This legacy remains because it directly links exposure to motion blur and frame cadence, unlike shutter speed alone, which doesn’t intuitively convey that relationship.
Definition: Exposure time per frame. In shutter-angle terms:
Shutter Speed = 1 / (Frame Rate × (Shutter Angle / 360°))
In simpler terms: a 360° shutter means the sensor is exposed for the entire frame (lots of blur). At 180°, it’s open half the time (natural motion). At 90°, only a quarter (crisper, less blur).
What it changes: Amount of motion blur — the primary driver of perceived “cinematic” motion cadence.
ND Filters (Why They Matter Here)
Because a longer shutter means more light hitting the sensor, daylight can easily overexpose footage. ND filters reduce light so you can maintain your desired shutter angle even in bright conditions.
2) Why 24 fps “Looks Cinematic” — And When It Doesn’t
For nearly a century, films were projected at 24 fps, typically using a ~180° shutter. Audiences have learned to associate that specific cadence and motion blur profile with a “cinematic” look.
But 24 fps isn’t magic. It comes with temporal limits. If your subject or camera moves quickly — like during lateral car shots or whip pans — 24 fps produces large positional jumps between frames. Without enough blur to bridge those gaps, the result is judder — motion that feels choppy.
Rule of thumb: At 24 fps, keep pans slow, or use a wider shutter angle to increase motion blur. If you’re shooting a fast scene (like out a car window), consider bumping up to 60 fps instead.
Transitioning from how 24 fps affects motion, let’s now look at its counterpart — higher frame rates — and why they can sometimes be misunderstood.
3) Why 60 fps “Looks Like a Soap Opera” — And When It Doesn’t
The so-called “soap opera look” isn’t caused by native 60 fps. It’s caused by motion interpolation — what TVs do when they insert artificial frames to make 24p or 30p content appear smoother. This creates unnatural in-between frames that break the motion blur pattern, resulting in that uncanny, hyper-real appearance.
Native 60 fps just captures more real motion data. Whether it looks natural or sterile depends on shutter angle, lighting, and presentation.
How to avoid the hyper-real look:
- Use ~180° shutter (≈1/120 s) to preserve natural blur.
- Control lighting and color for a softer, filmic tone.
- In post, conform 60p to 24/30p for slow motion.
- On most displays, you can disable motion interpolation (often called TruMotion, Auto Motion Plus, or MotionFlow) to prevent artificial smoothing.
This brings us to some of the practical trade-offs you’ll face when working with higher frame rates. The more frames you capture, the more your camera and storage need to handle.
4) Technical Considerations: File Size, Heat, and Runtime
- File Size: Doubling frame rate roughly doubles storage needs. A 120 fps clip can be 4–5× larger than 24 fps.
- Battery Life & Overheating: High frame rates strain the camera, often causing heat shutdowns — especially in 4K/60 or higher.
- Runtime: For long continuous shoots (vlogs, driving, interviews), 24–30 fps helps prevent overheating.
Lowering resolution (e.g., 1080p instead of 5K) also mitigates heat and saves space while still looking sharp for social media.
Rule of thumb: Save 60–120 fps for short bursts, high-action moments, or scenes that will use slow motion.
Understanding these technical limits naturally leads to how your frame rate decisions impact creative flexibility later. The next section focuses on post-production — where these choices truly reveal their power.
5) Speed Ramping & Post-Production Flexibility
If you want to slow footage or create speed ramps, frame rate matters before you record. You can’t invent temporal data later.
- To slow 24p to 50%, shoot 48–60 fps.
- For dramatic 25% slow motion, shoot 120 fps.
- To speed ramp smoothly, start at 60 fps or higher.
Tip: Maintain your target shutter angle (~180°) for realistic motion blur, even at 120 fps (≈1/240 s).
6) Understanding Choppiness, Strobing, and Smear
- Choppiness: Low fps + fast motion + tight shutter (not enough blur to connect frames).
- Strobing: Very short exposure (tiny blur) at any fps; objects appear to “snap” or flicker between positions rather than moving smoothly.
- Smear: Very long exposure; motion blends excessively and loses detail.
Fix levers:
- Increase blur (wider shutter angle, ND filter)
- Reduce motion speed (slower pans, steadier composition)
- Increase frame rate (more samples per second)
7) Stabilization Problems
Most in-camera stabilization (like Rocksteady or Hypersmooth) uses gyroscopic data rather than analyzing the image itself, so footage with natural motion blur usually stabilizes fine. However, when motion is jerky — like running — the blur baked into the footage doesn’t disappear after stabilization. You end up with stable movement but visible blur trails, making it look like stabilization “failed.”
- Smooth motion (car, motorcycle, drone): 180° shutter is fine.
- Jerky motion (running, hand-held): Shorten shutter angle (~90°) for cleaner post-stabilized results.
For those who want to dive deeper into this topic, see ND Filters and Hypersmooth: The Real Story and Solution.
8) Choosing Frame Rate by Intent
Now that we’ve covered theory and stabilization behavior, let’s connect everything to real-world shooting. Below are common scenarios with recommended settings — and the reasoning behind them.
A) Real-time playback with cinematic feel
- 24–30 fps, ~180° shutter.
- Works best with moderate motion.
- Plan camera movement to match cadence.
- Avoid low shutter angles at 24 fps.
B) Action clarity with room for slow motion
- 60 fps, ~180° shutter (≈1/120 s).
- Clean slowdowns to 24/30p.
- Maintains clarity in fast movement.
C) Maximum slow motion or analysis
- 120–240 fps, ~180° shutter.
- Ideal for sports or water action.
- Stick to clean slow-down factors (e.g., 60→30, 120→30).
D) Unstable or random movement
- 30–60 fps, ~90° shutter.
- Reduces motion blur to ensure clean stabilized footage.
9) Regional Flicker and “Safe” Frame-Rate Families
- 50 Hz regions (EU/Asia): 25/50 fps with 1/50, 1/100 shutter.
- 60 Hz regions (US/Canada): 30/60 fps with 1/60, 1/120 shutter.
- Matching local frequencies prevents flicker from lights and screens.
10) Editing and Delivery Considerations
- Decide your base fps early. If the timeline is 24p, shoot 48/60/120 for flexibility.
- Conform, don’t blend. Conform high-fps clips for smooth slow-mo; avoid frame blending unless stylistically intended.
- Disable motion interpolation (the real “soap opera” culprit) on TVs or monitors.
- Platform norms: 24/30/60 fps all work online. For action, 60p often looks best.
11) Myth vs Fact
-
Myth: 24 fps is automatically cinematic.
Fact: The feel comes from blur + cadence + craft — not just fps. -
Myth: 60 fps always looks like a soap opera.
Fact: That comes from interpolation, not true 60p capture. -
Myth: ND filters make footage cinematic.
Fact: They just let you hold your chosen shutter angle in bright light.
12) Practical Decision Tree
- Subject Speed: Slow → 24–30p. Fast → 60p or higher.
- Intended Playback: Real-time → match delivery rate. Slow-mo → 60–120p.
- Motion Feel: Natural → 180°. Crisp → 90°. Dreamy → >180°.
- Lighting & Runtime: Bright → use ND. Long record → lower fps.
- Stabilization: Smooth → 180°. Jerky → 90° or tighter.
13) Final Thoughts
There isn’t a single “cinematic” frame rate — only intent and control. Pick your fps for motion needs, set shutter angle for the feel, and use ND to maintain that look.
If you’re filming action, start at 60p @ ~180°. For storytelling, 24–30p @ ~180° remains timeless.
And remember: color, composition, and lighting all shape how motion is perceived. Softer light, balanced framing, and intentional palette choices enhance your chosen cadence. A well-matched frame rate complements artistry — it doesn’t replace it.
Frame rate isn’t a rule - it’s a creative choice you now understand and control.