Same frames. New playback rate.

This calculation preserves the whole frame count. It compares physical playback duration at the source rate and the new rate.

Frame-preserving conform inputs
Use the duration from zero, not a clip’s source start label.
A whole number of source pictures.
The current playback rate of the source frames.
The new rate at which the same frames play.

60.000 sSource playback duration
57.600 sNew playback duration
104.1667%Playback speed relative to source
−4.0000%Duration change relative to source

1,440 frames preserved · 24 → 25 fps. Durations are rounded to the nearest millisecond; percentages to four decimal places.

Speed and duration use different ratios.

source seconds = frame count ÷ source fps
new seconds = frame count ÷ playback fps
speed % = playback fps ÷ source fps × 100
duration change % = (source fps ÷ playback fps − 1) × 100

Playing 1,440 pictures at 24 fps takes 60 seconds. At 25 fps those pictures take 57.6 seconds. Speed rises by approximately 4.1667%, while duration falls by exactly 4%. The percentages are inverse relationships, so a “4% speed change” is not a precise description of this conform.

The 23.976, 29.97 and 59.94 options mean 24000/1001, 30000/1001 and 60000/1001 fps. Calculations use those exact rates; only the displayed decimal results are rounded.

Common frame-preserving comparisons.

Every row retains all the listed source frames
Rate changeFramesSource → new durationPlayback speed
24 → 251,44060.000 → 57.600 s104.1667%
24 → 23.9761,44060.000 → 60.060 s99.9001%
25 → 29.971,50060.000 → 50.050 s119.8801%
48 → 241,44030.000 → 60.000 s50.0000%

When the input is timecode, the source rate and counting mode first determine a frame count from the zero origin. The label’s seconds field is not assumed to be elapsed clock time. For a clip with a nonzero start, first find its length using the timecode duration calculator.

Carry the timing decision into the media tool.

This tool calculates a conform; it does not transcode or retime a file. A standards conversion that preserves programme duration needs a different frame-count or cadence decision. Read frame-rate conversion and film-to-digital delivery before choosing the actual processing method.

A frame-preserving picture conform changes running time. Plan the audio treatment with it: sync, any playback-rate change, and whether pitch should change or be corrected. Verify the processed picture and sound in the tool that performs the operation.

Timecode Pro’s native format comparisons follow their selected presets and established nominal-seconds behaviour. The physical playback seconds calculated on this page describe this specific frame-preserving operation.

Technical references

Numerical examples are calculated here from exact rates and preserved frame counts. Media-processing and audio options depend on the application and delivery specification.