24p: 24p is a progressive format and is now widely adopted by those planning on transferring a video signal to film. Film and video makers use 24p even if their productions are not going to be transferred to film, simply because of the on-screen “look” of the (low) frame rate which matches native film. When transferred to NTSC television, the rate is effectively slowed to 23.976 FPS (24×1000÷1001 to be exact), and when transferred to PAL or SECAM it is sped up to 25 FPS. 35 mm movie cameras use a standard exposure rate of 24 FPS, though many cameras offer rates of 23.976 FPS for NTSC television and 25 FPS for PAL/SECAM. The 24 FPS rate became the de facto standard for sound motion pictures in the mid-1920s.[2] Practically all hand-drawn animation is designed to be played at 24 FPS. Actually hand-drawing 24 unique frames per second (“1’s”) is costly. Even big budget films usually hand-draw animation shooting on “2’s” (one hand-drawn frame is shown twice, so only 12 unique frames per second)[4][5] and a lot of animation is drawn on “4’s” (one hand-drawn frame is shown four times, so only six unique frames per second).
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24p:

24p is a progressive format and is now widely adopted by those planning on transferring a video signal to film. Film and video makers use 24p even if their productions are not going to be transferred to film, simply because of the on-screen “look” of the (low) frame rate which matches native film. When transferred to NTSC television, the rate is effectively slowed to 23.976 FPS (24×1000÷1001 to be exact), and when transferred to PAL or SECAM it is sped up to 25 FPS. 35 mm movie cameras use a standard exposure rate of 24 FPS, though many cameras offer rates of 23.976 FPS for NTSC television and 25 FPS for PAL/SECAM. The 24 FPS rate became the de facto standard for sound motion pictures in the mid-1920s.[2] Practically all hand-drawn animation is designed to be played at 24 FPS. Actually hand-drawing 24 unique frames per second (“1’s”) is costly. Even big budget films usually hand-draw animation shooting on “2’s” (one hand-drawn frame is shown twice, so only 12 unique frames per second)[4][5] and a lot of animation is drawn on “4’s” (one hand-drawn frame is shown four times, so only six unique frames per second).

Frame Rate: The human eye and its brain interface, the human visual system, can process 10 to 12 separate images per second, perceiving them individually.[1] The visual cortex holds onto one image for about one-fifteenth of a second, so if another image is received during that period an illusion of continuity is created, allowing a sequence of still images to give the impression of motion. Early silent films had a frame rate from 14 to 24 FPS but by using projectors with dual- and triple-blade shutters the rate was multiplied two or three times as seen by the audience. Thomas Edison said that 46 frames per second was the minimum: “anything less will strain the eye.”[2][3] In the mid- to late-1920s, the frame rate for silent films increased to about 20 to 26 FPS.[2] When sound film was first introduced in 1926, variations in film speed were no longer tolerated as the human ear was more sensitive to changes in audio frequency. From 1927 to 1930, the rate of 24 FPS became standardized for 35 mm sound film; a speed of 455 millimetres (17.9 in) per second.[1] This allowed for simple two-blade shutters to give a projected series of images at 48 per second. Many modern 35 mm film projectors use three-blade shutters to give 72 images per second—each frame flashed on screen three times.[2] ffffffound: yay!everyday
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Frame Rate:

The human eye and its brain interface, the human visual system, can process 10 to 12 separate images per second, perceiving them individually.[1] The visual cortex holds onto one image for about one-fifteenth of a second, so if another image is received during that period an illusion of continuity is created, allowing a sequence of still images to give the impression of motion. Early silent films had a frame rate from 14 to 24 FPS but by using projectors with dual- and triple-blade shutters the rate was multiplied two or three times as seen by the audience. Thomas Edison said that 46 frames per second was the minimum: “anything less will strain the eye.”[2][3] In the mid- to late-1920s, the frame rate for silent films increased to about 20 to 26 FPS.[2] When sound film was first introduced in 1926, variations in film speed were no longer tolerated as the human ear was more sensitive to changes in audio frequency. From 1927 to 1930, the rate of 24 FPS became standardized for 35 mm sound film; a speed of 455 millimetres (17.9 in) per second.[1] This allowed for simple two-blade shutters to give a projected series of images at 48 per second. Many modern 35 mm film projectors use three-blade shutters to give 72 images per second—each frame flashed on screen three times.[2]

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yay!everyday

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