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AF100 for broadcast
Will Discovery Channel and other similar companies accept footages from the AF100 (with 4:2:1 color subsampling and compressed in avchd format)?
ut in omnibus glorificetur Deus
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9 Replies
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[clyde villegas] “Will Discovery Channel and other similar companies accept footages from the AF100 (with 4:2:1 color subsampling and compressed in avchd format)?”
The PANA records 420.
Most big networks requires 422, so you need to use an external recorder: NANO, Ki-Pro, Ninja..
rafael -
When you use those external recorders, do they record sound? What will be the output format and frame rate?
ut in omnibus glorificetur Deus
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Yes they record sound- typically the format is ProRes with uncompressed PCM audio. And I can’t imagine a network not taking that sorta footage. Well that is assuming they want your *content*. So many would-be producers I know seem to get hung up on the technical side of this. A network with take old DV footage if it’s a product they want badly enough. Try to be one of those…
Noah
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Correction: The AF-100 internally records AVCHD with a 4:2:0 color-space.
I think the AVCHD 4:2:0 format is only an issue if you plan on delivering footage straight out of the camera for the broadcaster to edit.
Many people have been delivering finished footage in high bit-rate 4:2:2 format even though the original footage might have been shot as lower bit-rate 4:2:0. The broadcaster doesn`t care as long as the final footage looks great.
As has been shown many times now, Panasonic AVCHD 4:2:0 can be almost impossible to separate from 4:2:2 higher bit-rate footage if it was properly shot.
4:2:2 color starts to make a noticeable difference with blue/green screen or SFX compositing work. For general purpose video it makes virtually no difference.
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[Guy McLoughlin] “As has been shown many times now, Panasonic AVCHD 4:2:0 can be almost impossible to separate from 4:2:2 higher bit-rate footage if it was properly shot.”
How does the broadcaster know that your submitted material (finished and edited) is either 4:2:0 or 4:2:2? Do they just rely on your word when you submit the material? Or is there some type of test done on it?
ut in omnibus glorificetur Deus
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[clyde villegas] “How does the broadcaster know that your submitted material (finished and edited) is either 4:2:0 or 4:2:2? Do they just rely on your word when you submit the material? Or is there some type of test done on it?”
If the footage you are submitting is the raw AVCHD files from the camera, then it’s obvious to anyone who knows the format that it uses a 4:2:0 color-space.
If you are submitting finished edited footage in a 10-bit 4:2:2 format, then I don’t think there is any easy way to determine what the color space of the original footage was, especially if the original footage has been manipulated ( i.e. color-graded, etc… ) in post.
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[Guy McLoughlin] “If you are submitting finished edited footage in a 10-bit 4:2:2 format, then I don’t think there is any easy way to determine what the color space of the original footage was, especially if the original footage has been manipulated ( i.e. color-graded, etc… ) in post.”
That will depends very much on the process.
420 stuff color graded on FC and exported to Prores, will hardly hide the 420 origin.
Chroma filtering, de-noising and 32b RGB processing, helps to hide the fact.
rafael -
Great thread!
So if I was to shoot a documentary on the AF100 (with the hopes of it showing on PBS or some other network) how would I create a broadcast ready export from Premiere? What would they prefer as a final file?
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Each network will have their own specifications on format. Here are links to the PBS Guidelines and the submission form for the PBS “Independent Lens” series:
PBS Independent Lens Submissions
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