Time compression and Pan & Scan

Hi
I'm editing a PPV special, and the networks are requesting that the Sony Digibeta Master be "time compressed when available."
Is "time compression" a feature in FCP, or is it a feature on the Digitbeta interface only (like the 7.5 IRE NTSC setting)?
Also, one of the networks requests a "Digital Beta or D-3 full frame panned and scanned scene-to-scene color-corrected NTSC master."
"Pan and Scan" referes to cropping 16:9 video to fit within a 4:3 monitor, with no letterboxing, right? My show includes both 16:9 and 4:3 content. For past shows, it's never been a problem when I make the Digibeta of both 16:9 and 4:3. But for this network that requests Pan and Scan, would there be any problem?
I only found these requirements on the Event Master spec sheet, not on the spec sheet covering promo spots. Why's that?
THANKS!

Also, one of the networks requests a "Digital Beta or D-3 full frame panned and scanned scene-to-scene color-corrected NTSC master." "Pan and Scan" referes to cropping 16:9 video to fit within a 4:3 monitor, with no letterboxing, right? My show includes both 16:9 and 4:3 content. For past shows, it's never been a problem when I make the Digibeta of both 16:9 and 4:3. But for this network that requests Pan and Scan, would there be any problem? < </div>
Pan'n'Scan used to refer to the mechanical process of getting a widescreen image onto a TV screen. Movies were run through big film chains, scanners, to turn them into the highest quality quality video. There was a panning device that would physically move the image from side to side to maintain some kind of continuity with the original film's intent. The worst pan'n'scan films had unskilled operators running the mechanisms. Classic example is a two shot of dialog where we saw half of someone on the left side of the screen talking to an invisible person who was out of frame off the right side of the screen.
I am not familiar with a more modern adaptation of the term "pan and scan" that does not include actually moving the widescreen image around. It's very complicated and time consuming to do it well while maintaining the integrity of the production. You are conforming someone else's composition to fit another frame. Touchy.
Scene by scene color correction is a nightmare, too, but is necessary when going from film to video.
bogiesan

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