HD Delivery

[John Ladle]

D5 capable deck. i thinbk walter had wrote about a D5 workflow…i could be wrong.

[Fred Connors jr.]

Great question Chris.

There are exactly zero media outlets here in New England that accept HD spots.

Fred

[Chris Poisson]

Well thanks,

It just seems to me so strange that everybody is going headlong into HDV and HD, and what the heck are you going to end up doing with it???

[Dan Riley]

There are very many stations and networks that accept and broadcast
shows on HD. The standard delivery tape, at the moment anyway,
is D5. If you finish your show onto DVCPROHD or something else,
take it to your local production house and have it transfered to D5
before you send it to Discovery Channel or PBS or WXXX or KYYY whatever.
Better yet, call the place you are finishing for and ask what they want it on.
Could be they accept various kinds of HD tape.

30 second spots are another matter right now. But that will change
quicker than you can say three quarter inch.

Dan

[Steve Covello]

I’m not up on the latest FCC rulings, but I could swear there was some sort of mondate that all broadcast outlets had to be digital by the end of 2006 or something. Check this out:

https://news.zdnet.com/2100-9584_22-948956.html

https://www.fcc.gov/cgb/consumerfacts/digitaltv.html

While it doesn’t specifically mandate HD, it seems to me that if they have to switch over to an all-digital system, it would likely be built primarily for HD, then “accommodated” for SD.

I guess if the FCC can “force” the public to buy new TVs or adapter whether they like it or not, you would figure that people will go for the HD compatible sets. Thus, an incentive to provide HD programming.

IMO, all this will be moot when Google TV (or the moral equivalent) makes cable TV/satellite providers irrelevant some day…

steve covello
double wide post

[Walter Biscardi]

[Chris Poisson] “It seems simple enough on the front end if say, I’m upconverting SD anamorphic footage to HD and/or creating the files with graphics/After Effects or whatever, but what would I need on the back end to deliver the media? “

What we’re doing here is shooting / editing with the Varicam in the DVCPro HD codec. Then run the HD-SDI output of the Kona 2 through a Terranex to cross-convert to 1080i HDCAM. The Terranex is a requirement of the network so we don’t have a way around that.

What I have found is that laying back off to tape on the 1200A (DVCPro HD) via HD-SDI is pretty much a perfect digital clone of the edited sequence so if you want to lay back to DVCPro HD, you’re better off going HD-SDI into the deck rather than Firewire. Firewire works, but it does add more noise to the signal.

As soon as Kona 2 gets the 720 – 1080i cross-convert going, we’ll just purchase an HDCAM deck for deliverables here.

Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.com

Now in Production, “The Rough Cut,” https://www.theroughcutmovie.com

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Chris Poisson]

Well,

Thanks you guys, exactly what I was after. What a forum!!

[Oliver Peters]

Chris,

There is NO FCC mandate for broadcasters to go HDTV, only digital transmission. HDTV is optional. I don’t know where the idea that only D5 is the delivery format came from. Probably more folks at any sort of network level want HDCAM than D5 and few, if any, take DVCProHD. The bigger outlets are equipped to go between D5 and HDCAM depending on their inhouse standard. It is also important to know whether the delivery requirement is 1080i or 720p. Few will request 1080p/24. Even if you produce in this format, you will be asked to deliver either an HDCAM 1080i/59.94 or D5 720p/59.94 master. At the highest end places, HDCAM-SR may also become an option, but most likely that will be for masters and not distribution copies.

Sincerely,
Oliver

Oliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com

[Walter Biscardi]

[Oliver Peters] “I don’t know where the idea that only D5 is the delivery format came from. Probably more folks at any sort of network level want HDCAM than D5 and few, if any, take DVCProHD. “

From conversations I’ve had with folks delivering HD, D5 is big standard because it’s true uncompressed HD so many shows seem to be delivered on D5. We were actually surprised when we were told to deliver our series on HDCAM as we were expecting it to be D5. No biggy since we can convert it, but we were hoping to deliver on the D5 format since it’s uncompressed.

Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.com

Now in Production, “The Rough Cut,” https://www.theroughcutmovie.com

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Hans Vernhout]

What about delivering your finished story as a file (in uncompressed codec) on some kind of disk? I guess at least some of the HD stations broadcast from servers and not from tape machines, so in stead of capturing your D5 or HD CAM tape to disk for broadcasting they just import your file.
Given the very low prices of disks this looks very convenient and cost effective to me for the production house AND the broadcaster. You don’t have to rent a $$$ deck just for mastering and no conversion is needed to a compressed tape based format like HD CAM. Next step of course will be delivering your program by uploading it to an ingest/broadcast server (Dutch public broadcasting is experimenting with this at the moment) but broad implementation might take some more time.

Anyway, anybody allowed to deliver a disk and not a D5 or HD CAM tape?

Hans Vernhout
Director / lighting cameraman
The Netherlands