By: Emory Cohen
President and Chief Operating Officer

The ‘99-’00 television season marks the introduction of Laser-Pacific’s High Definition 1080 line, 24 frame per second, progressive scan (1080/24P) post-production service. This system has been designed primarily for use on programs that shoot on film. We believe it removes a major impediment to the application of high definition to television production. The following is a brief explanation of why the service may be of interest to you.

Up to now all videotape delivery elements have been based on a single broadcast standard, NTSC. Programs could be made in a single format, 525 line, 30 frames per second, constructed from 60 interlaced fields, and delivered to any broadcaster, network or syndication. While the actual physical element may be different, 1", D-2, Digital Beta, Beta SP, etc., any "delivery dub" could be made from a common master. This is because all the broadcasters used the same broadcast standard. The process of conversion to digital broadcasting has changed the rules.

The FCC has ordered the networks to begin broadcasting on their digital channels this year. Up to now any digital broadcasting has been voluntary.

There are approximately eighteen different broadcast formats allowed under the ATSC standards accepted by the FCC. Some of these are "standard definition", the same sharpness as current NTSC, and some are "high definition", capable of greater detail than NTSC. All of the high definition formats are in the 16 X 9 aspect ratio. The standard definition formats are either 16 X 9 or, like the NTSC format, 4 X 3.

Since the digital television sets are mandated to be able to accept and display all the digital formats, the networks are free to select whichever format they prefer for broadcasting . They can also pick a different format for standard definition and high definition broadcasts. Although the FCC does not require any high definition broadcasts, it is likely that most or all prime time network programs will eventually be broadcast in high definition.

CBS and NBC have chosen the 1080 line, 30 frame per second, interlaced format for their high definition digital broadcasts. ABC has chosen the 720 line, 60 frame per second, progressive scan high definition format. Fox Broadcasting will be using the 480 line, 24 or 30 frame per second, progressive scan format for all of its digital broadcasts.

Each of these networks requires the delivery copies of programs to conform to their individual digital broadcast standard. In high definition this means 1080 interlace for CBS and NBC, 720 progressive for ABC, and either 480 progressive or 525 interlace with unbroken 3:2 for Fox. (Interlace, Each Frame is Divided, Interlace Each Frame is Divided, Progressive) None of the networks will accept "artifacts" which might result from making the program in one standard and converting it to another.

We are all familiar with the stringent requirements of non-NTSC countries for delivery of film originated programs. Simply put, they will not tolerate "artifacts" in their delivery elements that result from making programs for domestic 30-frame NTSC delivery. The same will certainly be true for future European or Australian high definition delivery. Although these high definition formats have not yet been finalized, all indications are that they will be1080 line and either 50 field interlace or 25 frame progressive.

In order to insure the future value of the programs made today it is vital that archival masters be in a form that will satisfy any and all future delivery requirements. This means programs must be post-produced in a format that satisfies the initial license, the network delivery, as well as domestic and foreign syndication sales well into the next decade.

For example, suppose a show was made for Fox in 480 line progressive, and the master was in that format. If the show was subsequently sold in syndication to stations which wanted to broadcast 1080 line interlace, an upconversion would be required. The upconversion may not produce the required quality.

Obviously, remaking the programs in each of the standards is impractical. At this time, and for the foreseeable future, there are only two approaches which satisfy the need for a master which can assure satisfactory delivery in all formats: film finish and 1080/24P high definition tape finish.

Film is still an excellent archival format. A complete finished version of a program on film on the shelf, optimally a timed interpositive, can be used for all likely future needs. This is, of course, expensive. Film finished elements are expensive to make, expensive to change, and expensive to use as a source for future video versions. Additionally, the use of cost-saving film production formats, such as 3-perf 35mm and 16mm, do not necessarily result in cost-effective archival masters.

There is one video alternative to film as a universal archival master. That alternative is 1080 line, 24 frames per second, progressive scan high definition video — 1080/24P. It is the only video format from which all current and expected future television deliveries can be made. (Progressive)

The concept behind this format is simple. All modern telecine machines, Ranks, Quadras, and Spirits, progressively scan film at 24 frames per second. The telecine machine then divides the video into two fields per frame, duplicates every other field commonly called 3:2 sequencing, and outputs 30 frame per second. The key to outputting 24 frame progressive signals is more a matter of "not doing" than one of "doing". Simply put, to create a 24 frame progressive signal, the telecine machine passes the original scan directly to the output without adding 3:2.

For purposes of recording to current technology videotape recorders the film frame may be written as two fields. This is of no consequence to the ultimate use of the video signal as the two fields may be recombined at any time to recreate the full original film frame information without loss.

The 24 frame video recording originally captured in telecine is then used throughout the post-production process — online, color timing, effects, and titling. If the original telecine is done in high definition, and presently the highest available quality is 1080 line, the result is a high definition program master with a direct one-for-one relationship with the original film images.

From this 1080/24P master any of the required delivery elements can be made. The 1080/24P machines Laser-Pacific is using will directly output 1080/60i for CBS and NBC high definition delivery, 525/60i for normal NTSC delivery and for Fox digital delivery. 720/60P videotapes for delivery to ABC, as well as 1080/25P or 1080/50i videotapes for foreign high definition delivery, are made through an external format converter. (Pick A Format, Any Format)

625/50i PAL recordings for current foreign delivery can either be made directly from the 1080/24P master through a format converter or they can be made from a 525 version as is done today. It is important to note that the 3:2 cadence in any interlaced copies are intact without any break in sequence, since they are made from a master which had no 3:2 sequence to begin with, just like the film original. This means that the conversions are free from any de-3:2 artifacts.

There are other benefits from working in 24 frames and having a 24 frame archival master.

Visual effects intensive programs require conversion of video information to data for today’s visual effects workstations, and conversions back from data to video for integration into the program itself. Starting from a 24 frame source tape decreases the time required for the video-data-video conversions and eliminates the problems related to "3:2" caused mixed field video. This simplifies the visual effects process and results in optimum quality.

Other current and future media markets, DVD, the Internet, video on demand, etc., rely on storage and distribution in a data form. In order to optimize video quality all of these new technologies require converting film originated programs back to 24 frames. Starting with a 24 frame program master eliminates the need for the processing to eliminate 3:2, with its potential flaws and faults, or at least makes it immune to the problems caused by cadence breaks in the 3:2 sequence. In other words, archiving a 1080/24P master assures optimum quality on distribution channels you may not even be using today but may be in the future.

In the future 24 frame video photography will be a practical option to shooting on 24 frame film or 30 frame video for some projects. This will open interesting new opportunities to mix film and video production for creative and economic purposes. 24 frame post-production is the enabling technology for this integration.

(The High Definition Laboratory Post Production Process)

1080/24P high definition post-production does not require any change in procedure for the creative staff in either production or post. Assuming that you are already shooting in the super-35 or super-16 format, protecting for 16x9, production is not changed in any way. (Production)

Dailies will be delivered in any format you choose, VHS, 3/4" or anything else, 16x9 or 4x3, standard definition or high definition. There is no change in format choice or equipment needed to view dailies or to input to an editing system. There is also no change in the editing room. The same systems you are using now, and the same edit decision lists you now create, will work for 1080/24P. (Editorial)

Online editing, titling, and color timing will be done on 1080/24P high definition equipment. Any dubs for viewing, approval, sound editing and mixing, as well as, of course, network delivery, can be made in either standard definition or high definition in any format you need. (Delivery)

High definition services cost somewhat more than standard definition services. Of course, only those steps that require the use of high definition equipment change at all. At Laser-Pacific we believe that cost-effectiveness is an important part of all new technologies. It was that philosophy which led to our creation of the 1080/24P system. Through our internal efforts and collaboration with a number of manufacturers, Sony, Philips, Digital Vision, and many others, we believe that we have a system that can provide you with the best combination of advanced technology, simplicity of use, and realistic pricing. Please allow us to prepare a proposal for you.

(The Future of 24P in Hollywood) We hope that this explanation of the need and application of the 1080/24P high definition system has been helpful. Because of the importance of the future value of your library, we believe you should consider 1080/24P for your upcoming production even if you do not now have a network order for high definition delivery. Please contact us if you desire any further information.