Edit to tape for broadcast

[Shane Ross]

[Brad Hodgson] “20 seconds of slug, 30 of bars and tone, eight of slate, then”

Where is here? Never heard of that practice. Either Hour 1 for US or Hour 10 for UK. YOu don’t really give yourself enough room if you use 1 minute as your start.

But, since you do, start B&C at 00;00;00;00. Even then, that is cutting it close.

WHy at 1 min?

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[Brad Hodgson]

Hey Shane,

Thanks for the reply. I’m not sure why… it would seem much easier. So, if I start the spot at an hour, with a minute of slate beforehand, I should stripe the tape with what starting timecode? 58:59:00? or something of that nature? Again, thanks for the reply and for the naive questions!

Brad

[Shane Ross]

58:00:00;00. This way you have a minute or so of black THEN bars and tone. SOme places I worked even went as far as 57:30:00. I believe it was to protect against machines that might eat tapes when you put them in. Give you some wiggle room.

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[Robbie Brewster]

BBC rules are the best. Black tape at 09:57:00:00 in internal preset. Bars at 09:57:30:00. Clock at 09:59:30:00. 3 seconds of black after bars – 09:59:57:00. Programme in at 10 hrs – 10:00:00:00.

[Peter Wiggins]

Yes that is what we do here in England, but I take it the guy is in the US and they like to do it differently there, so listen to Shane.

BTW I always put 1 second of prevision on too as things are still rolled in manually 🙂

Peter

[Brad Hodgson]

Thank you all for the help!

[Andy Mees]

just being completely anal here, but thats 00:58:00;00 ( two hours of black is too much … even for the BBC )

[Mark Raudonis]

[Peter Wiggins] “BTW I always put 1 second of prevision on too as things are still rolled in manually 🙂 “

Prevision? Is that like “pre-roll” or clairvoyance… you know, I think I’m about to see a vision…. I sense a talking head about to appear. 🙂

Mark

[Tom Wolsky]

It’s filling the space between the 2-pop and the beginning of primary audio with extra picture from the first shot so if the TD (vision mixer) takes the tape early there’s picture there and not black. Unless of course you’re fading up from black.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP6,” “Basic Training for FCS2” and “Final Cut Express Made Easy”
Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 4 Editing Workshop”

[Walter Biscardi]

[Brad Hodgson] “We start our programs at 1 minute, not an hour here… 20 seconds of slug, 30 of bars and tone, eight of slate, then a two pop and then the show at 1 minute. I’ve got a template I work from that I just send my finished file into when I’m ready for mastering… “

Which network are you delivering to and what are their specs? Each network has their own technical specification and no two are exactly alike. Very similar for sure, but not exactly alike.

One network wants 1 minute bars, 10 seconds black, 20 second slate, then black to one hour.

Another network wants 1 minute black, 30 seconds bars, 20 seconds slate then 10 second black to one hour.

Get those wrong and the project is rejected before they even watch the show. As always, when it comes to broadcast specs, the only rules that matter are those set down by the network / broadcaster you are actually delivering to.

And don’t forget to follow their audio delivery specs too. Most networks we deliver to request some sort of four channel mix / split.

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

Read my Blog!

STOP STARING AND START GRADING WITH APPLE COLOR Apple Color Training DVD available now!