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Frame Interpolation to a Higher Frame Rate

Raise a clip to a higher frame rate by synthesising the frames in between, rather than repeating the ones you have. Run the preset directly on this page or call the same agent-ready endpoint from your product.

Run this tool View API recipe
LIVE TOOL
Run interpolate frames
Drop a video, adjust the defaults if you need to, and download the result here.

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BEFORE / AFTER

See what the tool changes.

A real example: the after side is the unedited output of a KinoPipe job. Run the live form above to generate the same result from your own media.

BeforeSource at 30 fps
270 frames · 00:09
AfterSynthesised to 60 fps
Ready
537 frames · 00:09

Demo footage: public-domain timelapses (Bureau of Land Management, Oregon · NASA SVS). Processed by the same pipeline the API and MCP tools call.

Useful defaults, typed options.

The tool slug stays stable while your agent supplies named media inputs and a narrow set of documented options.

  • Up to 120 frames per second
  • Motion compensation, or blending when speed matters more
  • Hosted, so nothing runs on your machine
What this preset does
  1. 01Decode the source once
  2. 02Estimate motion between neighbouring frames
  3. 03Synthesise the frames in between
  4. 04Encode at the target rate
Stable endpointPOST /api/v1/tools/interpolate-frames
Live API request
{
  "inputs": [{ "id": "main", "url": "https://example.com/clip.mp4" }],
  "options": { "fps": 60, "mode": "motion" }
}
Successful output example
{
  "result": {
    "output": {
      "filename": "output.mp4",
      "contentType": "video/mp4"
    }
  }
}

Know the boundaries before you run.

Motion mode is slow and priced accordingly: measured at roughly 55 times a plain re-encode on 1080p, about sixty credits for nine seconds.
Blend mode costs almost nothing but cross-fades between frames instead of synthesising motion, so fast movement smears.
The target rate is capped at 120 frames per second.

About interpolate frames

Motion for anything you will look at closely: it estimates where things moved and builds the frames in between. Blend when you only need the file to carry a higher rate, since it fades one frame into the next and shows on fast movement.

It searches for motion between every pair of frames, which is real computation rather than a table lookup. Measured on nine seconds of 1080p it takes about sixty seconds of worker time, six or seven times longer than the clip itself, and credits follow worker seconds.

It will raise the rate, and whether that reads as smooth or as video rather than film is a matter of taste. Interpolating a clip that was shot at 24 for the cinema look usually removes the thing that was wanted.

That is the common case: models often output 15 or 16 frames per second, and motion mode raises them to 24 or 30. Results depend on how coherent the source motion is, since anything the estimator cannot follow is where artefacts appear.

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