Exporting 8 Channel Stereo Audio for Broadcaster

[Mads Nybo jørgensen]

Hey Paul,

FCP is the worst for managing a track output as it is built for using [random] magnetic magic tracks.

Setting that aside, is it correct to understand from your post that you are exporting to a DV codec?

If so, this is not what you would normally consider a Broadcast standard codec.
Most broadcasters will have delivery standards either on their webpage and/or for the production to be given before delivery.
Instead of DV, they normally have ProRes HQ or a higher format.
There are other codecs such as AS-11 DPP file or DCP.
But as you are on FCP, you are likely to be “forced” to use ProRes.

To get the audio onto the right tracks, you are likely to have to use “Roles”. There is at Apple a basic explainer here:
https://support.apple.com/en-gb/guide/final-cut-pro/verb71cb7e5/mac

VLC is great for many things, except for checking your video file “export” structure.

Best to re-import file back in to FCP to check if the audio are in the right tracks.

Or better, import file in to an NLE where you can easily see the tracks in your timeline.

Hope this helps?

Atb
Mads

support.apple.com

Export roles in Final Cut Pro for Mac

In Final Cut Pro for Mac, export roles as separate files.

[Ben Balser]

Broadcasters are asking for MPEG3 and MP4 and H264 video formats for broadcast. I’ve yet to find anyone in broadcast who considers ProRes a broadcast format. Of the stations I’ve worked with and for over the years, none would know what to do with a ProRes file and reject it. Personally, I”d do this in Resolve. Until Apple includes a proper, professional Audio Mixer with buses and realistic output control, I’ll never fully accept it as a professional level NLE. It’s too isolated and dumbed down.

Anyway, get the specs sheet from the specific broadcaster. All TV stations have one. Deliver strictly according to it.

As for splitting up all your audio, you’ll be using Roles as explained. Then on output, you can control what gets included and what doesn’t. FCP is actually (as stated) the worst NLE for doing audio work inside of. But basically, you’ll assign Roles for each audio channel needed for output. Then in the Inspector, configure your channels for each clip as needed. Then in the export window, configure the Roles as you need.

[Mads Nybo jørgensen]

Hey Ben,

“Broadcasters are asking for MPEG3 and MP4 and H264 video formats for broadcast.”

Are you sure?

That all depedns on the market that you are working in, and destination.

Maybe AMWA AS-11 (based on MXF) would be a better much format for delivery, but if I reember correctly that would require Compressor.

And, MPeg3 has a long time ago got retired, as it was “merged” into the MPEG-2 codec.

Point is, depending on the broadcaster and what market they are covering, and depending on the kit you use, you are more likely to get clean pass with ProRes out of FCP, than with MP4 or H264.

Just an opinion.

Atb
Mads

[Paul Neary]

Hi Mads,
It wasn’t a DV export, but I did figure it out thank you, and it was painfully simple.

I just created a nothing role ‘NULL’ with a silenced 2 second audio in the timeline (as someone else mentioned I could just have channel assigned to a role that had nothing in it, but I wanted to be able to track if there was any feedback by labelling each ‘Null’ accordingly). So it ended up like this:

Channel 1 – stereo – dialogue (becomes Channel 1&2)
Channel 2 – stereo – null (empy/silence) (becomes Channel 3&4)
Channel 3 – stereo – null (empty/silence)(becomes Channel 5&6)
Channel 4 – stereo – Descriptive Video File (DV Role) (becomes Channel 7&8)

Again, basic and simple but just one of those learning things I guess.

Thanks again and if hopefully this helps someone else down the road.

[Mads Nybo jørgensen]

Hey Paul,

Great to hear that you got it sorted.

If only there was less “painfully simple” solutions, and more straightforwardness when delivering masters.

Blockchain and digital keys making their way into delivery systems to authenticate the author.

Just wait till you have to deal with KDMs and DKDMs – I only learned the process of this recently.
But it does help keep our content safe.

Atb
Mads

[Ben Balser]

Mads, I work broadcast, have for over two decades, think I know what I’m talking about. MXF was popular at one time, not so much any more. And no, broadcast is not regional with codecs like you state. It’s pretty standardized across the board now.

[Mads Nybo jørgensen]

Hey All,

In case anyone do a search, I am just adding one comment to this conversation, which is:
When delivering a MASTER (Digital, or otherwise) always ask your client what their specifications are.

For the bigger broadcasters, and streamers, they often have their specifications listed on their website, easy to find if you search for it.

IMPORTANT: All of the below will be subject to change as new file formats, delivery and display systems are introduced.

Headliner explanation courtesy Dolby Professional support:
https://professionalsupport.dolby.com/s/article/Overview-of-Dolby-Atmos-Master-File-Formats

IMF IAB (.mxf)

IMF IAB is an MXF file that carries audio and metadata in an Immersive Audio Bitstream (IAB), which has been standardized by SMPTE. The advantage of IMF IAB files is that they fit into IMF file containers, enabling the packaging of picture, subtitles, channel-based audio, and Dolby Atmos audio in a single IMF. This can be very useful for delivery, quality control, and archiving for large OTT streaming services.

A few examples:
Netflix (Again Headliner, as it is much more involved than just the media “container” used for delivery):

https://partnerhelp.netflixstudios.com/hc/en-us/articles/7262346654995-Post-Production-Branded-Delivery-Specifications

2. IMF Specifications 2.1 Packaging

All deliveries to Netflix must be compliant to either SMPTE ST 2067-21:2016, SMPTE ST
2067-21:2020 or SMPTE ST 2067-21:2023 Interoperable Master Format (IMF) Application #2E. Packages containing immersive sound must additionally comply with SMPTE ST 2067-201:2019 Immersive Audio Bitstream (IAB) Level 0 Plug-in.

Netflix IMF Packages should be created directly from the color timeline out of a capable color grading tool OR from an intermediate mezzanine asset. IMF Packages must be delivered in the highest quality and resolution, including High Definition (HD) and Ultra High Definition (UHD). Netflix may explicitly request other resolutions.

BBC Studios pdf: 51 page guide for delivery:
https://www.bbcstudios.com/media/6914/contentdeliverybook.pdf

Page 20:

6.2 HD File Specifications
Video Source Digital: HD-SDI
Video Codec Profile Apple ProRes® 4:2:2 (HQ)
Container MOV (All files must have .mov extension

Page 22:

6.5 UHD File Specifications:
Video and Video
Codec
Format Standard ITU-R BT.2100 (3840 x 2160 25P)
Profile HDR Format Hybrid Log-Gamma
Reference White* 75 IRE (code value 721)
Colorimetry ITU-R BT.2100 (as defined in ITU-R BT.2020)
Colour Space 4:2:2 YCRCB
—-
Structure Intra Frame (I-Frame) only
Container MOV – QuickTime
Format Apple ProRes 422 (HQ)
Bit Rate 700 Mb/s
Encoding Profile High

Page 27:

6.12 IMF
BBC Studios will only accept IMF packages for specific titles and with pre-agreement.
If you would prefer to deliver an IMF package, please get in touch with your
programme operations contact to discuss the possibility further. An IMF package may
be requested of production by exception when key co-producers and / or
commissioning partners have a requirement.

BBC – Different to BBC Studios!!!

https://www.dropbox.com/s/sjsjlf4qtm68xc3/TechnicalDeliveryStandardsBBCFile.pdf?dl=0

Technical delivery standards

The BBC requires all Network television programmes to be delivered as AS-11 DPP files.

More information on AS-11:

https://www.thedpp.com/specs/as-11

AS-11 UK DPP

Developed in conjunction with UK broadcasters, the AS-11 UK DPP file delivery specification provides a format for completed programme deliveries (‘air-ready masters’). It is based on the MXF OP1A format with AVC Intra Class 100 compression for HD, and IMX at 50 Mb/s for SD. It includes a minimum set of requirements for Programme Editorial and Technical Metadata, based on EBU Core. Most UK broadcasters’ programme delivery requirements are based on AMWA AS-11 UK DPP.

Amazon Studios:

https://portal.amazonstudios.com/hc/en-us/articles/15986851525147-Delivery-QC

Digital Cinema Packages (DCP)

A Digital Cinema Package (DCP) is utilized for Theatrical distribution and exhibition. A DCP is a collection of audio, image, and data files. AMS Post Executive will advise when a DCP is required and provide the format specifications.

(<strong jscontroller=”zYmgkd” jsuid=”JhCmAd_1g” data-processed=”true”>Key DCP Standards & Formats:

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