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RE: 480P - Anyone know what this is?

	>>I'am curious if you know of a magic box out there that does this?
And if editors
	>>have kept the 3:2 consistant through the show. 

	Ahh, there's the rub. As far as I've been told, quite a few
broadcast MPEG2 encoders have 3:2 sensitivity, albeit with a minimum number
of fields for accurate detection. For this reason, it is a requirement for
the 3:2 to be kept consistent. There are a few ways to do this: the most
obvious is to assemble the negative and transfer the show from it. NYPD
Blue, ER, and a few others are done this way without problems, but it is a
difficult sell to many other producers who have come into the industry since
electronic editing began, and feel they can change picture practically until
air. Fox has actually gone so far as to propose editing in PAL and
converting to NTSC using a 3:2 inserting standards converter, but my feeling
(and, needless to say, hope) is that this will never happen due to the many,
many other problems such a change would create (sound sync, sound and
picture being at a different speed during editorial than the NTSC  final
product, no home monitoring, etc., etc., etc.). 

	>>The latest I have heard is that Fox is talking about 720p  at  24fps
	>>for feature film and 480p  at  30fps for the rest. The problem with
720p right now
	>>is shy of a Panasonic VTR and a monitor there is no other
production equipment
	>>out there yet. Open standards are a wonderful thing for post

	I haven't talked to Andy Setos recently, but that makes alot more
sense than previous proposals, although the 720p thing is kind of a joke to
me right now (i.e.: the equipment to do it doesn't exist). My question
regarding 480p/30 is whether 3:2 pulldown creates objectionable strobing
with some frames containing imagery from 2 film frames vs. 60 field, where
the information is each field is a discrete image.What I would really like
to see is everyone come to their senses a bit. Implement digital
broadcasting now, get the public used to 16:9 and improve reception via
digital delivery, using "standard definition" 480i. We all know there are at
least some companies working on film rate (24 FPS) high definition
solutions, which eliminate most, if not all, of the problems we're talking
about. These solutions will likely be ready within the next year or so.
Rather than jump headstrong into another expensive, dead-end, interim set of
solutions, if we had any sense we'd sit tight until the technology is in
place to solve these problems sensibly.

	Mike Most, Encore Video, L.A.

Thanks to Kevin Shaw, Avenue Edit, and Modern Video for support in 1998.
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