Coming back to the topic : for sure, the more frames you deliver per second the more realistic the motion. Your output medium must support high frame rates and the real refresh rates are important vs Marketing definitions in order to really output all 60 frames or more per second. You set the timeline to whatever your target video output should be — mostly 30 fps for real world scenarios or may be 24 for all those who aim at this classic movie look.
However, during EDITING you still work with the underlying original 60 fps source and that means you can create slow motion whenever you want. You can make speed changes any time. You can verify in the project window panel that your source video footage retains its frame rate. Reasoning: on a 30 fps timeline you have room for 30 frames images which create 1 second of output. During you video shoot with 60 fps you created 60 frames that captured that 1 second of action.
You can distribute those 60 full images on the 30 fps timeline and you get 2 seconds of action, in other words the original action was certainly only 1 second long and playing it over 2 seconds means you get beautiful slo-mo. You have 30 fps, 48 fps, 60 fps, and fps footage in your project. You can slow it down but not much in order to not loose too much quality.
Drop any higher fps source on the timeline. It will, not surprisingly, show also as a 2 second long clip. You will notice that the clip length doubles. The available frames are distributed on the 30 fps timeline. During you video shoot with 60 fps you created 60 frames that captured that 1 second of action.
You can distribute those 60 full images on the 30 fps timeline and you get 2 seconds of action, in other words the original action was certainly only 1 second long and playing it over 2 seconds means you get beautiful slo-mo. You have 30 fps, 48 fps, 60 fps, and fps footage in your project.
You can slow it down but not much in order to not loose too much quality. Drop any higher fps source on the timeline. It will, not surprisingly, show also as a 2 second long clip. You will notice that the clip length doubles. The available frames are distributed on the 30 fps timeline. It shows as 60 fps or Click OK. Now, in the project area the details show that the clip is a 30 fps clip and the length has doubled.
The source file is still intact as you can verify by checking the file location and properties. First import a source clip onto the stage. Here in Media Encoder you can also change the output directory and file name and therefore actually create a new video file with that new fps rate.
Once written to disk you can go to that location and find that the file has actually doubled its play length assuming you went from 60fps to 30fps. It is actual slo-mo and plays as such. Probably it is best to prepare your footage in your project aka.
Upload the video file that you would like to slow down. Slow down video. Download your video. Instantly transform your video into slow motion with the Adobe Spark online converter.
Convert your videos into slow motion for free. Upload a video from your device. Change speed. Choose from different speeds to slow down your video. If you must then hurry slowly! Countless studies show that the harder and longer you work, the less productive you become. Drag Constant Gain onto the end of the audio track. There you have it, the audio will now fade out. Most experts have a tough time agreeing on an exact number, but the conclusion is that most humans can see at a rate of 30 to 60 frames per second.
There are two schools of thought on visual perception. One is absolute that the human eye cannot process visual data any faster than 60 frames per second. Basically, the reason for that more cinematic look is because 24fps produces more motion blur, which is considered the standard film look.
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