Frame rate for Instagram Reels
Reels ingest 23–60fps. Export the timeline rate. Do not conform 24 or 25 up to 30 to please a preset.
8 min read
Lip and SFX Sync Tolerance in Finishing
Hold lips to ±1 frame on film and ±2 on broadcast. Slip generated SFX inside that window, and regenerate only when a slip would break the rest of the scene.
9 min read
24fps clips on a 25fps timeline
Video models render at 24fps and Versely timelines default to 25. The three ways to conform, the arithmetic behind each, and the one that wrecks lip sync.
9 min read
Captions run early after the first two minutes
Segment timestamps and 30-second window rounding accumulate. Use VAD-first segmentation, forced alignment, and a frame-rate check before you generate cues.
8 min read
Fast-motion subjects and the models that survive
Subject speed breaks video models before camera speed does. A per-frame overlap test that predicts limb doubling, plus the shot design that buys real headroom.
9 min read
Frame interpolation means invented frames
Frame interpolation invents frames between real ones. Native frame rate computes each moment. A 60 fps label can be either. Contact and occlusion break it.
9 min read
Instagram Reels specs: FPS and codecs
Instagram Reels take MOV or MP4, H.264 or HEVC, and 23 to 60 fps. Files may run 15 minutes, but anything over 3 minutes is not recommended to new audiences.
8 min read
Lip sync drifts across the clip
Most lip-sync drift is an export fault, not a model fault. Re-export at native frame rate, skip optimized rendering, and feed uncompressed audio.
8 min read
Speed ramps on generated clips
Ramping buys pacing without extra generations, but only inside the frame budget you actually have. Safe ratios, where interpolation helps, where it smears.
9 min read
Variable frame rate breaks caption timing
Phone footage and screen recordings often carry variable frame rate. Detect VFR, transcode to a constant rate, then caption so cues stop drifting.
9 min read
Why your clip shimmers, and how to stop it
Shimmer is usually a frame-rate problem: too many frames starve temporal context. Rates that hold, where the deflicker pass goes, and how to spot compression.
9 min read
Handing Generated Clips to a Human Editor Cleanly
A naming convention, a codec target, one shared frame rate, and a shot log — the four things that need to leave your hands before an editor can start.
7 min read
Why Your Generated Clips Don't Match in the Timeline
Six clips that looked fine as previews come apart once cut together. The causes are resolution, frame rate, and bitrate mismatches between models, not your eye.
7 min read
Related topics
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