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 2 times, so only 12 unique frames per second)[3][4] and a lot of animation is drawn on "4's" (one hand-drawn frame is shown 4 times, so only 6 unique frames per second).
30p is a progressive format and produces video at 30 frames per second. Progressive (noninterlaced) scanning mimics a film camera's frame-by-frame image capture. The effects of inter-frame judder are less noticeable than 24p yet retains a cinematic-like appearance. Shooting video in 30p mode gives no interlace artifacts but can introduce judder on image movement and on some camera pans. The widescreen film process Todd-AO used this frame rate in 1954–1956.[5]
From Wikipedia
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