Editing 24p (section)

== 24p vs. PAL video ==
{{Main|Telecine}}

=== Converting 24p to PAL ===

24p material can be converted to the [[PAL]] format with the same methods used to [[Telecine#Frame rate differences|convert film to PAL]]. The most popular method is to speed up the material by 1/24 (≈4.1%). Each 24p frame will take the place of two [[PAL|50i]] [[Field (video)|fields]]. This method incurs no motion [[Artifact (error)|artifacts]] other than the slightly increased speed, which is typically not noticeable. As for audio, the ≈4.1% increase in speed raises the [[Pitch (music)|pitch]] by 0.707 of a [[semitone]], which again typically is not noticed. Sometimes the audio is [[Audio timescale-pitch modification|pitch shifted]] to restore the original pitch.<ref>{{cite web |last1=Forret |first1=Peter |title=Framerate conversion @ toolstud.io |url=https://toolstud.io/video/framerate.php?inputfps=24&compare=network&duration=60&duration_unit=seconds&outputfps=25 |website=toolstud.io |access-date=8 August 2021 |language=en}}</ref>

If 24p footage cannot be sped up (for example if it were coming through a live [[NTSC]] or [[High-definition video|HD]] feed), it instead can be converted in a [[pattern]] where most frames were held on screen for two fields, but every half second a frame would be held for three fields. Thus the viewer would see motion stutter twice per second. This was the common result when programs were shot on film or had film portions, edited on NTSC, and then shown in PAL countries (mostly [[music video]]s). NTSC to PAL conversion also tends to [[motion blur|blur]] each film frame into the next, and so is seen as a sub-optimal way to view film footage.

[[Progressive scan|30p]] can be preferable over 24p since performing a standards conversion to 25i PAL has fewer technical complexities – any [[Television standards conversion|NTSC–PAL converter]] will do. The larger differences between the 30p and 25i framerates will cause less noticeable motion artifacts upon conversion.<ref>[http://www.cinematography.net/edited-pages/MusicVideoShootingAt30p.htm Music Video Shooting At 30p], Cinematography.net</ref>

=== Non-linear editing and 24/25 telecine ===

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. Once in the non-linear editing system, the editing system, knowing that the material actually originated 24 frame/s rather than at 25 frame/s, will replay it at the correct speed.

The original film [[Keykode]] and 24 frame/s audio timecode can be then be reconciled with the 25 frame/s telecine timecode by the generation of a telecine log file containing this information. Again, once the non-linear editor has this information, editing can be performed entirely in terms of 24 frame/s timecode, and the Keykode information preserved for either film cutting or [[digital intermediate]] post-production of scanned film images.

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.