Timecode Guides

Which frame rate should you shoot at?

Shoot at the frame rate of where the film will be shown. Use 25 fps for UK and European broadcast and online work, 23.976 for US television and most streaming drama, 24 for cinema, and 29.97 or 30 for US broadcast video. Use higher rates such as 50 or 60 only for slow motion or sport.

True-Slate Guides · updated 1 November 2026

What a frame rate is

A frame rate is the number of still images captured or shown each second. Our eyes blend them into motion. Lower rates such as 24 frames per second (fps) give the slight motion blur we associate with cinema; higher rates such as 50 or 60 look smoother and more like live television.

The common rates

24 fps: the traditional cinema rate since the 1920s, still used for theatrical features and digital cinema packages.
23.976 fps: 24 slowed by 0.1 percent for compatibility with American NTSC television. It is the standard for US television drama and much streaming content, even when shown on modern screens.
25 fps: the PAL standard for the UK, Europe and many other countries. It matches 50 Hz mains power, which avoids flicker from artificial lights.
29.97 and 30 fps: US video standards. 29.97 is used in broadcast and often needs drop-frame timecode.
50 and 59.94/60 fps: smooth motion for sport and live events, or for slowing down to 25 or 24 for slow motion.
Higher rates (100, 120 and beyond): for dramatic slow motion.

How to choose

Ask the delivery spec. Broadcasters and streaming services publish technical specifications that state the frame rate. That decides it.
Think about lighting and location. In 50 Hz countries, shooting 24 or 30 fps under some lights can cause flicker. 25 fps avoids it.
Match the whole production. Every camera and the sound recorder's timecode should run at the same rate, except for deliberate slow-motion shots.
Plan slow motion. To play back at half speed in a 25 fps edit, shoot at 50; for 23.976, shoot at 47.952 or 59.94 and conform.

Why frame rate matters for timecode

Timecode counts frames, so the timecode rate must match the project. If the camera records at 25 fps but the sound recorder's timecode runs at 24, the numbers drift apart by a second every 24 seconds and automatic syncing fails. On set, the sound recordist usually sets the master rate, and everyone else is jammed to it. The frame rate on the slate should say the same thing.

23.976 versus 24

These look almost identical but are not interchangeable. Mixing them is one of the most common causes of sound slowly drifting out of sync over a long take. If your project is 23.976, make sure the camera is set to 23.976 and not 24, and that the sound recorder and slate are too.

Frame rates in True-Slate

True-Slate supports the common rates from 23.976 to 60 fps, including drop and non-drop frame, and shows the rate on the slate so it is captured on every take. When you jam to the sound recorder's LTC, choose the same rate the recorder is set to.

Common questions

Is 25 fps or 24 fps better for UK productions?

25 fps is standard for UK broadcast and online work and avoids flicker under 50 Hz lighting. Cinema features may still shoot 24, but check the delivery spec.

Can I mix 23.976 and 24 fps footage?

You can, but it needs converting, and sound recorded against one rate will drift against picture at the other. Keep the whole shoot at one rate.

What frame rate should I use for slow motion?

Shoot at a multiple of your project rate, such as 50 fps for a 25 fps project, so playback at the project rate gives smooth half-speed motion.

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