CampaignReel

Ad placement specs against what generators output

Which entries publish a frame rate at all

Three entries publish a frame rate: eight, twenty-four and thirty frames a second. The spread is nearly four to one, which is wider than any other column here manages, and both ad specification pages this register reads are silent on the subject. As of 2026-09-22.

Three rates, three texturesEight frames a second steps through motion, twenty-four is what filmed material arrives at, and thirty is what broadcast and web video mostly use.8 fpsStepped motionA model cardReads as generated24 fpsFilmed textureA user guideSits in a break30 fpsContinuous motionA model cardMatches web videoTwelve entries publish nothing hereWhat each published rate looks like on screen
Fig. 1 Neither ad surface states a rate, so nothing rejects any of these files at upload.
The three published frame rates in this register. Recorded 2026-09-22.
ItemWhat is publishedDetail
Highest published30 FPSOn a model card, used to convert a frame ceiling
Middle24 frames per secondOn a user guide, beside a single fixed resolution
Lowest published8 frames per secondOn a model card, explaining a six second length

Inclusion rule. Entries whose own page states a frame rate for output. A rate reachable by interpolating frames afterwards is a post-process and is not recorded. Order. Highest rate first.

1A rate is not billed, so rate cards omit it

Nothing about a frame rate changes what a request costs, so no priced page in this register mentions one. Nor is it usually a request parameter, so the API references leave it out as well.

What is left is documents written for whoever runs the model: two model cards and a user guide. In those the frame count is the quantity being budgeted, so the rate has to appear.

2Eight against thirty is a difference in kind

At eight frames a second a pan steps rather than sweeps. At thirty it reads as continuous. Twenty-four is what filmed material arrives at, which matters for an advertisement that will play in a break beside shot work.

No surface here rejects any of them, so nothing fails at upload. The consequence lands entirely on how the piece reads, which is a judgement these sheets record the input to rather than make.

3Twelve empty cells are the rest of the finding

The other entries say nothing. That is a gap rather than a claim, and the only way to close it is to measure a delivered file, which is not something a register can do on a buyer's behalf.

It also means frame rate cannot be used to choose between most rows here. Where it can, it separates two open-weight releases by a factor of nearly four, and that is the whole of what this column supports.

4From brief to placement

For ad work around “Who publishes a rate”, SceneMixer's pages explain how its ad projects are produced:

16:9 landscape (SceneMixer's default) and 9:16 vertical (the usual short-drama frame), chosen per project.

SceneMixer, Seedance 2.0 in a Real Short-Drama Pipeline — “Which aspect ratios does the pipeline generate?” (read 2026-10-13)

The music runs across the end card and comes to an end with the film.

SceneMixer, Where the Music in an Ad Video Comes From — “Does the end card have music?” (read 2026-10-13)

5Sources

Format requirements come from Google Ads Help, read 2026-09-12, and tool limits from each vendor page listed on published limits, read 2026-09-22. The rule against mixing the two is on method. Nearby: How long output stays, Floors, not just ceilings, Length in frames.