The AI shot in a 25 fps edit
An editor delivering to a European channel at 25 frames per second takes each Seedance or Kling shot from 24 to 25 before importing it, instead of speeding up picture and sound by 4%.
Take a video from 24 fps to 25, 30 or 60 fps: AI creates the missing frames, duration and audio stay the same. Six credits per five seconds at 30 fps. Workflow shown here, no account needed.
Real workflow: an AI-generated flyover of a village at 24 frames per second goes to 30, then 60 frames per second in two Enhance nodes. Same resolution, same duration, more frames.
At a glance
AI videos almost all come out at 24 frames per second, the cinema frame rate. Your edit is often at 25 for European broadcast, 30 for the web, 60 for very smooth motion. Mixing the two causes stutter, and a platform that converts for you does it by duplicating frames.
This workflow changes the frame rate by interpolation: the model looks at two consecutive frames and creates the ones missing between them. Topaz, set to ×1, keeps the source resolution; duration and audio track do not move. A 5 second source at 24 frames comes out with 149 frames at 30, or 298 at 60.
To choose which frame rate to aim for, read 24, 25, 30 or 60 fps. For the step by step method and the non-AI alternatives, convert a 24 fps video to 30 fps. To upscale the video at the same time, see sharpen a video.
These are the files of the workflow above, exactly as the models produced them, unretouched. The starting point is shown when there is one.
Starting point
Render
Editors and creators who combine AI shots at 24 frames per second with footage at 25, 30 or 60, delivering for the web, TV or screens.
An mp4 video of one to sixty seconds, and the target frame rate: 24, 25, 30, 50 or 60 frames per second.
Wire in your shot
Connect a Video or Media node to the Enhance node, or import an mp4 of one to sixty seconds.
Keep the size
Pick Topaz and the ×1 factor: only the frame rate changes. ×2 or ×4 also upscale.
Pick the frame rate
25 for a European edit, 30 for the web and social media, 50 or 60 for very smooth motion.
One shot at a time
Convert each shot before editing. An edit that is already cut creates ghost frames on the cuts.
The same canvas, tuned for different needs: each variation is two or three lines of prompt away.
An editor delivering to a European channel at 25 frames per second takes each Seedance or Kling shot from 24 to 25 before importing it, instead of speeding up picture and sound by 4%.
A creator who films their talking head at 60 frames per second converts the illustration shots generated at 24, so pans stop stuttering next to their own footage.
A drone pan generated at 24 frames, posted as is, judders on a phone. At 30, it scrolls evenly, with no frame duplication by the platform.
Wan 3.0 outputs 30, Seedance 24. A clip that combines both models aligns everything on 30 before editing, and the rhythm of the cuts stays right.
A brand running in-store screens at 50 frames per second converts the rotating packshot generated at 24, for motion as soft as the rest of the loop.
An indie studio cuts a trailer at 60 frames per second with gameplay captures; the AI shots of the teaser go to 60 so they do not look choppy next to the gameplay.
On every cut, the model creates a frame between two unrelated shots: you see a one-frame ghost dissolve. Convert shot by shot, then edit.
60 frames per second give a very smooth, sports-broadcast look that removes the cinema feel of a shot. For film, 24 or 25 remain the norm; 60 is for games, sports, scrolling.
Going from 24 to 60 keeps the same duration: nothing is slowed down. Slow motion comes from playing a high frame rate video slower, or from generating it directly.
A network that receives 24 and displays 30 duplicates one frame in four. Motion turns uneven on pans. Deliver the display frame rate directly.
No: duration stays the same, within a few hundredths of a second in our measurements, and the audio is kept. Only the number of frames goes up.
Six credits per five seconds at 720p up to 30 frames per second, twelve at 50 or 60. The price is shown on the button before you start.
Yes: pick 24 in the node, frames are then removed. For smooth slow motion, see the slow motion video page instead.
Topaz at ×1 only changes the frame rate and keeps the resolution. ByteDance always goes up to 1080p, 2K or 4K and changes the frame rate in the same pass: five credits per five seconds to 1080p at 30 frames.
On our dance test, fast arms and motion blur, the created frames stay clean. The limits come on cuts, objects crossing each other and scrolling text.
Sixty seconds per pass, in one piece. For a longer film, convert each shot separately, which is the right method anyway.
The provider bills processing at 50 and 60 frames per second at twice the 30 fps rate: it computes twice as many frames. The price shown follows its rates exactly.
Yes: the source audio track comes out intact and in sync, since the duration does not change. Checked on a generated ad with sound, converted from 24 to 30.
Increase a video's frame rate with AI: 24 to 25, 30 or 60 fps
Use this workflowFree account, no card required. The workflow opens pre-filled in your canvas.