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RE: the TV part of HDTV




	>>Given #1) CBS' currently proposed delivery specification for
High
	>>Definition calls for shows produced on 35mm film to be
delivered for
	>>broadcast in 1080I, mastered on Panasonic D-5 recorders. 

	Given #1A) None of that will happen unless license fees are
increased significantly and/or production companies are willing to talk
about assembling negatives and performing one, and only one, high def
transfer. CBS can issue whatever delivery requirements it wants, but
unless it is willing to meet the price tag, studios won't deliver
elements that meet those requirements.

	>>Observation #1)... I haven't yet heard any discussions
	>>about how the facilities that now provide services to episodic
	>>television producers will do so in the next few months in High
	>>Definition, on what kind of schedules, and for what kind of
additional
	>>dollars. I realize that some of these issues may be
competitive secrets,
	>>and so I'm only asking for a public discussion of the things
that you
	>>think you can talk about without putting your companies at
risk.
	.>>... But,
	>>I'm very interested in finding out how the vendors who will
have to
	>>deliver HD masters to us intend to do so.

	There are no secrets that I know of. There is also no equipment
currently on sale that will deliver a complete system that I know of.
There is also no knowledge as to whether whatever CBS decides they want
is what everyone else will agree on. There is also no bread and butter
hi def telecine; the only ones currently available commercially are
tremendous overkill, both technically and in terms of pricing, for the
broadcast television post market. So the answer probably is, that
vendors will do whatever the market demands they do. But someone,
probably the networks, has to pay for it. The question of how the
vendors intend to meet the requirements is one for the networks' vendors
--- namely the studios and production companies. Not the post
facilities, who will ultimately respond to whatever they're asked to do.

	Mike Most, Encore Video, L.A.


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