- November 11, 2009 at 8:58 am
I’ve been working as an event videographer in a specialist motorsports for a couple of years, outputting to DVD and for the web, I’ve been happy to bypass broadcast, however a broadcast cameraman and his boss, have suggested that given the quality of my content/work being better than what they are outputting on their channel and that I should pitch their channel to put an edited programme on air. It was also suggested that the Sony z1 and v1s I employ is as good or better than the programmes they are showing. Of course there’s no money coming from the channel however they do have air to fill, and the organisers will finally put their hands in their pockets if I can get it on air. Personally, I expect a huge number of broadcast technical issues, which is why I’ve always tried to avoid it, but I can’t develop my work any further(or make any money) without someone elses investment. So… I’ve obtained the delivery format submission specs, much of it is in tech speak, fair enough, but not insurmountable, doubtless I’ll be back here to ask about what it really means in English. But one thing that looks a bit of stumbling block is the requirement that all submissions must be in the digi beta format, include 4 channels of audio. Now I feel as though I’ve read elsewhere on here, that in reality, it often doesn’t matter what it’s shot on/format just so long laid off in the format the broadcaster wants. My cameraman friend (whose a live sports camerman, so not familiar with these other productions) was sure that the independent production that had already produced the same kind of programme I’m considering pitching won’t have shot on digibeta he doubted if they had used anything more than I’m using already.
Which begs the question accepting how difficulty is involved in editing a programme in a codec in FCP, adding the slate, countdown clocks, bars and tone, etc etc. Can you easily convert the finished content assumingit ticks all the other boxes to digibeta? I mean could I turn up with a mac book pro with the finished programme in an intermediate codec dvc pro HD or some high end codec, at production house, and plug the laptop into a digbeta deck and see it finished for submission, and be acceptable? And no one the wiser, Or bothered, that it was shot on HDV?
- November 11, 2009 at 10:24 pm
[Chris Simpson] ” Can you easily convert the finished content assumingit ticks all the other boxes to digibeta? “
Yup. Get an HD capture card and it is as simple as just outputting to tape. Have the card downconvert the footage as you play out, in real time. Very easy.
[Chris Simpson] “accepting how difficulty is involved in editing a programme in a codec in FCP, adding the slate, countdown clocks, bars and tone, etc etc. “
Edit in HDV, output to Digibeta. Easy. Better yet, edit as ProREs…but HDV works fine. Adding a slate…simple TEXT. Countdown, also easy. Bars and tone…all there in the Viewer, just add to the timeline. This is the EASY part. Prepping the show for broadcast, making sure it fits broadcast specs in terms of video not going over 100IRE nor under 0 IRE, and that audio on CH 1 and 2 are a stereo mix, and 3&4 are mix minus narration (or whatever the requirement is)…this is a touch more difficult.
[Chris Simpson] “I mean could I turn up with a mac book pro with the finished programme in an intermediate codec dvc pro HD or some high end codec, at production house, and plug the laptop into a digbeta deck and see it finished for submission, and be acceptable?”
No. You need to be able to connect the MBP to a deck…for that you’d need a capture card. But it would be VERY easy to export a Quicktime movie and take THAT on a hard drive to a facility with FCP that can output to tape. But you need to make sure that QT file already has the video in broadcast specs, the audio in broadcast specs…because all they will do is output. Unless you hire someone to online the show…color correct and finish it to make it fall within broadcast specs.
[Chris Simpson] “And no one the wiser, Or bothered, that it was shot on HDV?”
Very few people care about what format it was shot on. Only high end networks and high end cable networks really have a say in that.
- November 12, 2009 at 11:05 pm
Cheers Shane. So it’s not scuppered before I start, guess it gets complicated from here.
I have Mac Pro on which I work from, the MBP (Geforce 8600m GT card) is a back up and for simple or fast edits and review on site.
Delivery format would be one pure/new 16×9 anamorphic 625 component Sony digital beta.
All material is quality and technically assessed, this checks that all levels conform to the current edition of the EBU tech 3267-e, which defines PAL-i and provides a basis for the definition of 625-line component video system. All programme levels must not exceed the following when correctly lined up to bars and tone: Luminance must not exceed 1v (100%) or go below sub black (.3v)
Programme peak sound levels must not exceed line-up levels by more than +8 dBu (PPM6).
The workhorse is a Mac Pro, ATI Radeon HD4870 for capture over FW800. Is FW800 good enough do you, or should I be bracing myself for expense from something to capture through an SDI, maybe out of the HDMI port on the V1. What kind of set up would you recommend? Just enough to get the job done.
I like the idea of capturing as Pro Res, edit and output as? I’ve been looking at the codecs in FCP/Compressor, and searching online seems to suggest something like an Uncompressed 8 (or maybe 10) bit. And looking at the safe area specs it seemed as though the frame was 702 by 625 a custom frame size, (is that anamorphic, not very wide for 16 by 9). Or maybe something wrapped in QT wrapper, although transferring/dubbing to a Digi Beta deck depends on the post house, I get the impression, and that transferring a file to MBP would need something like an SDI card in it to transfer from?
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