Technical Aspects of the New World of Multi-Format DTV Embodying Progressive, Interlaced, and Segmented Frame Video Format

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Publisher: SMPTE — White Plains, NY
Doc Type: Conference Paper
Content Type: Original Research
Volume: 1999, No. 8, pp. 1–18
Abstract: The past year has seen an unprecedented flurry of industry activity on the product and system development (and standardization) of a 24 Frame progressive scan HDTV production system (now generally known as the 24P system). Two marketplace imperatives are driving this: Digital Television production for multi-format DTV, and a digital adjunct to motion picture film for Movie production. Issues of Acquisition, Transport, and Postproduction relating to this format must all be encompassed in their respective overall system designs. 24P offers novel solutions to managing postproduction in our new world of multi-format DTV which encompasses both progressive and interlaced scanning. Meanwhile, a separate initiative, this time in the arena of HDTV international standards development, finally bore fruit in a stunning accomplishment in 1999 within the International Telecommunication Union (ITU). On June 3rd, 1999 the ITU issued a press release which reported on the achievement of a major milestone in the history of television with their adoption of a new electronic production standard for television program origination. Their addition of the 24 frame capture rate to a family of other rates surrounding their novel concept of a Common Image Format for HD production could, in the words of the press release: “well revolutionize the film and television industries”. The new ITU standard reached out to encompass the 50 and 60 Hz systems (in both their progressive and interlace embodiments) as well as adding the 24, 25, and 30 frame progressive scanning formats. They further recognized the important merits of the segmented frame transport mechanism and have embodied this into the Recommendation for the 24, 25, and 30 frame systems. Suddenly, the old established world of analog 50/60 Hz interlaced video is about to be replaced by a world of mixed progressive, interlaced, and segmented frame digital video—all operating at a variety of frame and field rates. Understanding this new world, and the options available to sensibly implement flexible systems, will be helped by a better understanding of the essential differences between interlaced, progressive and segmented frames video structures. This paper will attempt to outline the basic technical characteristics of each.
Publication Date: 1999-11-01
DOI: 10.5594/M00309
Link: https://doi.org/10.5594/M00309
Author(s): Laurence J. ThorpeBroadcast & Professional Company, Sony Electronics
Copyright: © 1999 Society of Motion Picture and Television Engineers, Inc.

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Laurence J. Thorpe; Technical Aspects of the New World of Multi-Format DTV Embodying Progressive, Interlaced, and Segmented Frame Video Format, SMPTE Meetings and Conferences ( November 1999); SMPTE, 1999. Available at https://doi.org/10.5594/M00309

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Laurence J. Thorpe; Technical Aspects of the New World of Multi-Format DTV Embodying Progressive, Interlaced, and Segmented Frame Video Format, SMPTE Meetings and Conferences ( November 1999); SMPTE, 1999. Available at https://doi.org/10.5594/M00309

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<span class="citation">Laurence J. Thorpe; <cite>Technical Aspects of the New World of Multi-Format DTV Embodying Progressive, Interlaced, and Segmented Frame Video Format</cite>, SMPTE Meetings and Conferences ( November 1999); SMPTE, 1999. Available at <a href="https://doi.org/10.5594/M00309" target="_blank" rel="noopener">https://doi.org/10.5594/M00309</a></span>

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<li>
Laurence J. Thorpe; <cite id="bib-10-5594-m00309">Technical Aspects of the New World of Multi-Format DTV Embodying Progressive, Interlaced, and Segmented Frame Video Format</cite>, SMPTE Meetings and Conferences ( November 1999); SMPTE, 1999
<span class="doi">10.5594/M00309</span>
</li>