Mathew Sherman wrote:
Yet again I must remind everyone that saying “1080i” does not have
anything to do with frame rate. People are getting confused when
people tell them “we need 1080i” that it somehow precludes them from
working at 24PsF. But the only thing truly that 1080i means (in this
case I am referring to the HDNet spec) is that they do not want 720P
originals. Sony HDCAM is a 1080i format regardless of what frame rate
you are using. 24P is also 1080i and that is exactly what HDNet means.
They don’t like DVCPRO-HD since it’s low bit rate (100Mbps) and is a
720P format (natively).
In terms of what to do for a possible film-out well definitely working
progressive will help the film look better, however these days there
are such good de-interlacing tools that I bet one would have a hard
time telling the difference between 59.94i (proper term) or 23.976PsF
on the cinema screen once all is said and done, properly.
Sorry to disagree Matt but in the US 1080i has become synonymous with
59.94 fields. Mark Cuban was involved in a discussion on the Telecine
Internet Group last year on this topic. He was quite adamant that the
research they've done on viewer preferences were so strongly in favor of
the higher frame rate that they chose to require that for delivery. I'm
not surprised since Mark Cuban is so involved with sports broadcasting
and the higher temporal resolution makes a difference. I happen to
prefer 720p for sports for the same reason - disclaimer: I'm ex-ABC
engineering.
If you're planning a film out there is a big advantage to working in 24p
(again, common usage in the US translates to 1080psf(at)23.97 - even for
film jobs you'd need to specify true 24p if you didn't want 23.97psf!).
Yes, there are de-interlace tools but it doesn't look the same and we've
been through it on numerous projects.
--
Richard Torpey
VP Engineering
Rhinoceros/MultiVideo Group
50 East 42 Street
New York, NY 10017
(212) 986-1577
(212) 986-3833 fax
(212) 692-4465 direct
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