Thanks for your support Tone :). I agree.
Yes, we have 50i stickers.
Matt
-----Original Message-----
From: tony(at)hdheaven.co.uk [mailto:tony(at)hdheaven.co.uk]
Sent: Monday, August 29, 2005 4:00 PM
To: DS(at)Softimage.COM
Subject: RE: 1080i format question
Hi all,
Not replying to any one person in particular here, so the fact that I'm
quoting Matt should not be given any particular relevance.
BUT....
Whether or not 1080i (whether it be interlaced or progressive material) is
all the same thing to the TAPE is, frankly, irrelevant.
If I am doing post work on material, then whether or not that material is
progressive or interlaced becomes an ESSENTIAL piece of information. I
couldn't care less what tape format worked as the transportation medium
for the media I am working on, I care only about three things:
1. The Frame Rate
2. The Frame Size
3. The Temporal Format
So, please, wherever you are in the world, do NOT use "1080i" as a
descriptor of your material.
Because it isn't.
Regards,
Tone :)
> David, 24P is not the whole story AGAIN! Saying 24P tells you nothing.
> Saying 1080p/24, now that's the whole story. Now I know it's a 1080P
> format
> (1920x1080 progressive frames and this does not yet exist on tape) and
> there
> are 24 of them per second captured. That is different than saying
> 1080/24PsF. Sony HDCAM is 1080/24PsF and, my friend, it is still
> technically
> 1080i. It is still stored as two separate fields on the tape. Sure, they
> can
> be recombined into one progressive frame and they are both captured in the
> same moment in time, which is what Rich is explaining. And, all my
> friends,
> this is now all sounding a bit silly. My main comment from my first post
> is
> not to confuse 1080i as absolutely meaning 59.94 fields. Cause couldn't it
> be 50i? That's all. I know in North America it's becoming convention,
> typically American to only think everyone is doing what they are. (Sorry,
> flame me if you don't agree, I'm American too so....) But if you are in
> international post house and deal with European HD formats such as 25P and
> 50i then it's important to specify the difference. That's all.
>
> Matt Sherman.
>
> -----Original Message-----
> From: david friedman [mailto:gevalt1(at)gmail.com]
> Sent: Sunday, August 28, 2005 11:24 PM
> To: DS(at)Softimage.COM
> Subject: Re: 1080i format question
>
> ok, there IS a lot of confusion about HD even among professionals.
> imagine what the CONSUMERS are going through.
>
> 24P is NOT 1080i. if anything you should refer to it as 1080P/24fps
> (or 23.98fps)
>
> now that isn't to be confused with those 24p dvc pro cameras that
> capture at 24 fps and add pulldown in the camera, because those tapes
> end up as 29.97fps NTSC
>
> david friedman
>
>
>
> On 8/28/05, tony(at)hdheaven.co.uk <tony(at)hdheaven.co.uk> wrote:
>> Hi Guys,
>>
>> Surely the "i" at the end of 1080i means "Interlaced" doesn't it? Which
>> would differentiate it, for instance from 1080PsF.
>>
>> In other words, 1080 specifies the line count, i means interlaced, and
>> then other information is requred to specify frame rate?
>>
>> So, 24P couldn't be called 1080i.
>>
>> Or have I completely misundertood something here?
>>
>> Cheers,
>> Tone :)
>>
>>
>> >
>> > 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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