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With PsF, a progressive frame is sliced into two "segments", with the odd lines in one segment and the even lines in the other segment. This allows for a progressive picture to be processed through the same electronic circuitry that is used to store, process and route interlaced video. Technically, progressive segments are equivalent to interlaced fields, but unlike native interlaced video, there is no motion between the two segments that make up the video frame. Both fields represent the same instant in time.
PsF allows the progressive format to be maintained, while minimizing bandwidth requirements using interlaced equipment. When translated to TV rates (either at 2:3 or 2:2 pulldown), the progressive image has a closer temporal match to the original film than is possible with a true interlace system, particularly now that modern displays (LCD & plasma) are natively progressive scan devices.<ref>{{cite web|url=http://www.pro-bel.com/site_documents/Vistek_HD_Poster.pdf|title=
Not everyone welcomed the PsF standard. Some industry observers maintained that native 24p processing would have been a better and cleaner choice. Others accused Sony Pictures in lobbying products of its parent company, Sony Corporation, which at that time was producing interlaced equipment. Charles Poynton, an authority in digital television, makes the following remark in his book: "Proponents of [PsF] scheme claim compatibility with interlaced processing and recording equipment, a dubious objective in my view."<ref>{{cite web|url=http://books.google.com/books?id=ra1lcAwgvq4C&pg=RA1-PA62&sig=8ZAl0RqzUYnyxQSmjxiIw4ZJDbE|title=Charles Poynton, Digital Video and HDTV: Algorithms and Interfaces}}</ref>
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