Delivery to TV station workflow

[Zane Barker]

You should ask them what what they want it delivered on. Different places will prefer it different ways.

There are no “technical solutions” to your “artistic problems”.
Don’t let technology get in the way of your creativity!

[Ed Dooley]

A major network will tell you “exactly” what they want. Ask them.
And a “major network” is shooting with an HVX200? And why would you assume ProRes, why not the codec it was designed around, DVCProHD (100)?
Ed

[Scott Wright] “I am cutting a show for a major network in HD. They are shooting in 720 (instead of 1080, don’t ask, loosing battle).

Anyway, I am wondering what you guys and gals have come up with concerning workflows for deliverables.

Because of the camera they are using (HVX200) I’m assuming that a conversion to ProrezHQ is in order for editing. But where from there?

Compressed? Uncompressed?

What would you send to them?
“

[Scott]

Thanks for the replies.

The reason I was assuming Prorez was because that is the format the Log and Transfer window is transcoding to. I meant it for editing purposes.

DVCproHD sounds like the way to go. Any other opinions?

Thanks,

Scott

[Shane Ross]

If you shoot DVCPRO HD on the HVX-200, the only option you have is DVCPRO HD. It doesn’t recompress to ProRes. Only AVCHD and AVCIntra offer that option.

I edit shows shot in 720p from the Varicam and HVX-200, and I deliver a 1080p HDCAM tape, and digibeta tape…as per network requirement.

Shane

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[Andy Mees]

FWIW They will probably accept delivery on HDCAM tape … but their technical specifications for delivery will likely be very specific, so its not just what physical format to give them you need to concern yourself with, but also ensuring that it will pass QC once they receive it.

Every network, major or otherwise, will have a document spelling out their requirements for deliverables of commissioned work and you need to ask for it if for some reason this has not already been provided to you.

Lots of folks here on the Cow routinely work for or deliver to major networks, its nothing to be worried about. If you let us know which network you may find that someone here is able to help you quite specifically.

Good luck
Andy

[Scott]

Ahhhhh. Apparently the camera man did not follow my instructions. Thanks for the heads up. Since some of the footage has already been shot in the other format. Hmmm.

Any thoughts on image degradation translating from AVCHD to DVCProHD?

[Walter Biscardi]

[Scott Wright] “I am cutting a show for a major network in HD. They are shooting in 720 (instead of 1080, don’t ask, loosing battle).”

What’s the difference? Good Eats is the #1 show on the Food Network and they’ve been shooting 720 from the get go. I prefer 720p for all our HD Production as well since the file sizes are smaller. We just convert to 1080i during the mastering process.

[Scott Wright] “Anyway, I am wondering what you guys and gals have come up with concerning workflows for deliverables.”

Contact the network and ask for “Technical Specifications” Sometimes this is called the Producer Handbook. There will be anywhere from 10 to 100 pages dealing directly with deliverables and exactly how they must be set up. Do anything wrong, including something as simple as the incorrect layout of the show slate, and you fail Quality Control.

[Scott Wright] “Because of the camera they are using (HVX200) I’m assuming that a conversion to ProrezHQ is in order for editing. But where from there?”

As others have suggested, DVCPro HD. We have been cutting DVCPro HD for network broadcast going on four years now.

[Scott Wright] “What would you send to them?”

Whatever they ask for. Anything else will be rejected.

Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.

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[Walter Biscardi]

[Ed Dooley] “And a “major network” is shooting with an HVX200?”

Sure, why not? Ever hear of “Dirty Jobs” on Discovery? You can see the HVX-200 in almost every episode. Ever hear of “Deadliest Catch” on Discovery? Around 50 Z1U HDV cameras are used per season. “Good Eats” on the Food Network uses the 200 as the B-Camera and every season of “Feasting On Asphalt” has been completely shot on the 200.

Not sure what the implication is here but the 200 is a solid broadcast HD camera.

Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.

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[Ed Dooley]

Yeah, b-roll. When someone says it was shot on an HVX200, they generally don’t mean “I’m editing a show that was shot on an HVX200, which actually was only the b-roll camera” 🙂
When he said “major network” the thought of the Food Network didn’t even cross my mind.
I’ve shot some stuff with the 200, and it worked out OK, although I think it’s the softest image of any of the 1/3″ chippers.
Ed

[walter biscardi] “[Ed Dooley] “And a “major network” is shooting with an HVX200?”

Sure, why not? Ever hear of “Dirty Jobs” on Discovery? You can see the HVX-200 in almost every episode. Ever hear of “Deadliest Catch” on Discovery? Around 50 Z1U HDV cameras are used per season. “Good Eats” on the Food Network uses the 200 as the B-Camera and every season of “Feasting On Asphalt” has been completely shot on the 200.

Not sure what the implication is here but the 200 is a solid broadcast HD camera.”

[Shane Ross]

[Scott Wright] “Thanks for the heads up. Since some of the footage has already been shot in the other format. Hmmm.

Any thoughts on image degradation translating from AVCHD to DVCProHD?”

What other format? The HVX-200 only shoots DVCPRO HD in HD mode. It shoots DVCPRO 50 and DV as well. it does not shot AVCHD nor AVCIntra.

Shane

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