Return-Path: Received: from mail-iy0-f169.google.com ([209.85.210.169] verified) by media-motion.tv (CommuniGate Pro SMTP 4.2.10) with ESMTP-TLS id 4628733 for AE-List@media-motion.tv; Thu, 16 Feb 2012 23:08:19 +0100 Received: by iagz16 with SMTP id z16so3974366iag.28 for ; Thu, 16 Feb 2012 14:14:37 -0800 (PST) Received: by 10.50.95.166 with SMTP id dl6mr5456468igb.27.1329430477104; Thu, 16 Feb 2012 14:14:37 -0800 (PST) Return-Path: Received: from [192.168.1.226] (c-71-63-186-29.hsd1.mn.comcast.net. [71.63.186.29]) by mx.google.com with ESMTPS id k3sm2965013igq.1.2012.02.16.14.14.35 (version=TLSv1/SSLv3 cipher=OTHER); Thu, 16 Feb 2012 14:14:36 -0800 (PST) From: Carey Dissmore Mime-Version: 1.0 (Apple Message framework v1257) Content-Type: multipart/alternative; boundary="Apple-Mail=_A82FD5E4-177A-41AF-9FAB-51F2A684D7DD" Subject: Re: [AE] 720 or 1080 Date: Thu, 16 Feb 2012 16:14:34 -0600 In-Reply-To: To: "After Effects Mail List" References: Message-Id: <91D5C39D-C3C4-435D-96EB-E04C45E13419@imugonline.com> X-Mailer: Apple Mail (2.1257) X-Gm-Message-State: ALoCoQl32s7PDb6MMK0FFMfOno8pX1nE+b79Fzu7WC3LjPZVXziZvpKuCWu3SD6XxG0bDBpNIkZD --Apple-Mail=_A82FD5E4-177A-41AF-9FAB-51F2A684D7DD Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=iso-8859-1 I worked on a few of unscripted shows last year, for both Food Network = and Spike TV. The Food Network shows actually were shot and posted = 1080p/29.97 but delivered to network as 60i on HDCAM. The Spike one was = actually shot and posted 60i. (eeewww....interlace!).=20 For spot, corporate and documentary work it's ALWAYS progressive. Often = 23.976p but sometimes 29.97p. (I'm in the US). The stuff is generally = delivered file-based these days at it's native frame rate. Except for = spots which go out via FTP or DG Fastchannel, etc. Those get encoded as = if they are 1080i and pulldown added on the final delivery stage if = necessary.=20 carey On Feb 16, 2012, at 4:07 PM, Byron Nash wrote: > Is anyone actually working with interlaced 1080 material? We get a lot = of 1080 stuff but it's almost always 23.976 progressive. We just let the = "interlacing" happen on the output. But I never see the fields on our = stuff, I think it's just a flag in the file so it doesn't get rejected = by the stations. I haven't seen any true interlaced source footage = unless it came from Digi-Beta or SP. --Apple-Mail=_A82FD5E4-177A-41AF-9FAB-51F2A684D7DD Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=iso-8859-1 I = worked on a few of unscripted shows last year, for both Food Network and = Spike TV. The Food Network shows actually were shot and posted = 1080p/29.97 but delivered to network as 60i on HDCAM. The Spike one was = actually shot and posted 60i. = (eeewww....interlace!). 

For spot, corporate and = documentary work it's ALWAYS progressive. Often 23.976p but sometimes = 29.97p. (I'm in the US). The stuff is generally delivered file-based = these days at it's native frame rate. Except for spots which go out via = FTP or DG Fastchannel, etc. Those get encoded as if they are 1080i and = pulldown added on the final delivery stage if = necessary. 

carey

On= Feb 16, 2012, at 4:07 PM, Byron Nash wrote:

Is anyone = actually working with interlaced 1080 material? We get a lot of 1080 = stuff but it's almost always 23.976 progressive. We just let the = "interlacing" happen on the output. But I never see the fields on our = stuff, I think it's just a flag in the file so it doesn't get rejected = by the stations. I haven't seen any true interlaced source footage = unless it came from Digi-Beta or = SP.

= --Apple-Mail=_A82FD5E4-177A-41AF-9FAB-51F2A684D7DD--