Quick p.s.f. query

[Rafael Amador]

Hi Will,
PSF exists on tapes an and for monitoring progressive stuff in interlaced monitors.
Once the PSF footage captured will be treated as any other progressive material.
It doesn’t affects you animation-editing at all.
Rafael

http://www.nagavideo.com

[Will Snow]

Hi Rafael!

Thanks for the reply!

So p.s.f. is really something created within the tape decks etc?

So for the purposes of my animation workflow: in After Effects, FCP, Color, Compressor, Cinema Tools etc etc, and for the final graded master output file, I’m working in 23.976 (or 23.98) progressive, and I don’t have to worry about implementing any p.s.f. settings?

I’m just trying to get it all straight in my mind, I can’t believe the amount of incongruity there is!

W:)

[Rafael Amador]

Hi Will,
Don’t worry. Is a hardware related matter.
PSF is just a way of writing a progressive picture. Instead of writing all the lines sequentially they are divided in two packages.
The first devices for 24 fps recording were based in standard NTSC cameras, so the signal had to be adapted to work in an interlaced system.
This happens with DV and HDV. You download them as interlaced, but then you must identify them as Progressive in FC, AE or any other application.
In case you would print to tape with a PSF device, it would be the hardware who would take care of splitting your progressive picture in two fields and recording one after the other.
rafael

http://www.nagavideo.com

[Gary Adcock]

[Will Snow] “So p.s.f. is really something created within the tape decks etc? “

an explanation. https://forums.creativecow.net/readpost/193/875880

PsF has to do more with Movie-like presentations fitting into broadcast, not just NTSC, PAL formats are PsF also.

“I’m working in 23.976 (or 23.98) progressive,”

WARNING- this are NOT the same frame rate in AE!
while final cut says 23.98, AE compatible content is needed to be 23.976 to match.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Will Snow]

Thanks guys!

It’s all fairly straight in my head now, after a good week or so of short circuiting my brain at the unbelievable incongruity of all the myriad formats.

How on earth was it allowed to get like that…

Thanks again, much appreciated!

W:)

[Michael Gissing]

[Will Snow] “How on earth was it allowed to get like that…”

A combination of technical limitations and lazy engineering. Whoever was the bright spark who decided to shift the NTSC frame rate from 60hz to 59.94 should be immortalised as creating the most grief in both the 20th & 21st centuries.

By pure luck I was born in a PAL country so we have far fewer technical conundrums and a history of superior engineering.

The most important thing to consider is how your animation is going to be delivered. If it is for broadcast TV then most people will be viewing it as standard def interlaced.

[Will Snow]

Cheers for that Michael!

Re: final delivery, I want to try and get my animation into as many film festivals as possible. So while DVDs will be used for previewing, if it gets selected they usually ask for some kind of tape format. Hopefully I’ll be able to get into both PAL and NTSC regions, and I’ve been informed 23.976 is the best bet in terms of that required flexibility.

But in terms of a final graded digital master, I was thinking the best thing would be to have it on 1920×817 (the 2.35:1 aspect ratio) TIFF image sequence, plus a lossless movie file. Then from either of those, compress/transcode/process that into whatever is required to lay it off to DVDs and tapes.

Hopefully that’s correct, I don’t think my brain can handle any more curveballs!

W:)

[Gary Adcock]

[Will Snow] “But in terms of a final graded digital master, I was thinking the best thing would be to have it on 1920×817 (the 2.35:1 aspect ratio) TIFF image sequence, plus a lossless movie file.”

I hope you have a lot of storage. ALOT,

and if you send anything to a festival other than a standard video format – Nothing will play the file.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php

[Rafael Amador]

[Michael Gissing] “Whoever was the bright spark who decided to shift the NTSC frame rate from 60hz to 59.94 should be immortalised as creating the most grief in both the 20th & 21st centuries. “
Without this change (60> 59’298) the B&W TV sets would have had many interferences due to the chroma in the signal.
Yes, they really complicated the things.
rafael
‘

http://www.nagavideo.com

[Gary Adcock]

[Rafael Amador] “Without this change (60> 59’298) the B&W TV sets would have had many interferences due to the chroma in the signal. “

No that is not correct (and what does 59’298 mean????)

Since B&W sets at the time could not see any part of the Chroma signal it did not affect them,

On Older Color sets when luma and chroma combined reached 90% white the harmonics in the signal would cause AUDIO interference when graphics or the random white shirt on screen allowed the signal drift into that area. Super White graphics can still cause this today – ( ever heard an audio buzz on a local car commercial when the Price is on screen?)

This is also why we have YUV instead of RGB, since the “Y” channel contains all of the pertinent data including sharpness and resolution for a proper B&W image, whereas the Cr’Cb channels only carry color info

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, IL

https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php