Getting Ready for SD Broadcast

[Andy Mees]

Hey Jonathan

Each broadcaster you deliver to will have their own technical specifications for program delivery document. That will contain the info you need for each specific broadcaster. I guess what I’m saying is that you need to ask the folks you are delivering to what their requirements are, not us.

Other than that, do you know how to read your scopes and audio meters? And do you know how to use the basic audio filters and video filters like the 3 way color corrector, levels, proc amp etc? If you have a pretty good handle on this then you have no reason to doubt you abilities to deliver for broadcast.

Best
Andy

[Gary Askham]

The normal way you learn is to become a runner at post facility. You do that for a year or two and you try to get involved and show enthusiasm. If you’re lucky you get promoted and you become a junior edit assistant or a junior tape op. Your company may send you on some courses or you might shadow someone a little senior. If you apply yourself after doing this for about 3 or 4 years you’ll have a pretty good grasp of the basics of film, TV and video post production.

I’d say 5 years is a good marker for the point when you can call yourself pretty competent in this industry.

By the way it’s practically impossible to learn in “a bubble”. You need hands-on tutorial from a real person. Someone who you can speak to and ask questions. Unfortunately there aren’t too many websites that show you this world. Probably cos there is no template facility or studio. They are all different with different equipment and workflows.

————————
FCP and Avid Technical Support
Air Post Production
Shoreditch – London

[David Roth weiss]

[Jonathan Clauson] “For kicks I looked up NTSC on wikipedia and the amount of engineering data there just about made we want to crawl under my desk and whimper while holding my old teddy bear…”

If you’ve never done this before then you should curl up with that teddy bear and head over to a professional facility, with your project on a firewire drive, where you should watch every move as a real “engineer” properly preps your project for broadcast. Once you watch someone else do it, you develop an understanding of the process, which you can then practice on your own.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

EPK Colorist – UP IN THE AIR – nominated for six academy awards

A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, Indie Film & Documentary, and Film History & Appreciations forums.

[Shane Ross]

Yeah, this isn’t something you can pick up from book reading or web articles. Hands on or on-site training. Mastering video is one thing, mastering audio is another. The specs for both are typically pretty rigid. I’ve been editing for 8 years (assisting for 5), and I’d never tackle network spec audio without SERIOUS training.

Shane

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

[Steve Oakley]

well the very first thing is you should be monitoring your output on a CRT. things like revered fields won’t show up on **most** **nearly** no LCD except a couple of broadcast style ones. you could monitor out of the VTR, or put a mxo onto the display port as another option.

title safe is another

and color levels

and mix levels ( flatter )

its really not that hard…. but no so easy either.

Steve Oakley
DP • Editor • VFX Artist
http://www.practicali.com