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Is a Countdown still necessary on a master?
I was going to start this with a long description of why I’m asking the question, but I thought it would be better to get your opinions without trying to influence you to my side, but here is the question.
Do we still need to have Bars&Tone and a countdown on a program master?
Since most places run off servers these days, I’ve been thinking a countdown is fairly pointless, although I still see value in the Bars & Tone, plus the Slate i obviously non-negotiable
Tony Mueller
Senior Editor
STL TV -
6 Replies
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[Tony Mueller] “Do we still need to have Bars&Tone and a countdown on a program master? “
Depends if the network asks for them. They should provide you with a spec sheet of what their requirements are. For all the shows I deliver, to about a dozen or so networks and local stations, I am still required to put bars and tone. But only two networks require a countdown. Most I have dealt with never have. They know that program starts at 1:00:00:00.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
SMPTE 256M is still in effect as far as I know.
Check out PBS’s Technical Operating Specifications at
https://www.pbs.org/producers/TOS_2007_Submission_8_20_07.pdf -
The issue that bothers me is that these days its even money if the bars and tone have anything to do with the actual program content, because the young kid editors today don’t think of it as a reference so much as a graphic intro.
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Oh, that’s ok. I just got finished with delivery for ABC Network – the “kids” don’t have a chance (I barely have a chance). You have to watch all the gamut levels, all the 608 and 708 caption crap, the average audio dialog level with a Dolby LM100, and now they are going to introduce “loudness” issues of the program. So as the “innocent” think that digital has brought them isolation from all the technical standards, the standards have become more insane – a whole new world. Some stations will take someone’s DVD if they can get the ad revenue – others (the big boys) will torture you more than ever.
Bob Zelin
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as i work in a facility that actualluy is floating between broadcast and provideo we get masters from al kind’s of facilities.
We often get tape’s that are poorly mastered and then you really respect the tape’s that meet a standard.we often get 3kind’s of masters
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master from “i have a apple so i’m the man kids”
That start at TCrandom often on the exact beginning of the tape whit audio way too loud no master report no label and don’t forget not recordinhibited.2
tape’s Striped with Bars and Tone from the deck which are on first sight found to be good. but half way the dub the tapeoperator actually find out that audiolevels are too loud and videoquality on homebrew DVlevel. again often badly labeled no master report3
and master’s made by pro facilities (which is a delight)if you have 70% of type 1 and 2 you really love type3
greet
MauricePeople saying they don’t make mistake’s often make nothing at all!
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I wake up in the middle of the night and hear 1 kilohertz tone…
When I close my eyes, I see color bars (of course I’ve calibrated my eyes on a professional scope).When I wake up in the morning, some kid in an art program in college delivers me a Quicktime and says it’s ready for broadcast…Then I show it to him on a waveform monitor and vector scope and he sees his project only exists on his LCD. He goes back to his dorm room to snuggle with his iMac and figure out what broadcast specs really are….
Two months later, the same person ends up moving out of video and in to banking and lives on Wall Street and finally realizes that video wasn’t his calling….
Chad Brewer
Senior Tape Operator
TeleVersions
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