iMac Broadcast Delivery

[Shane Ross]

With an iMac your options are VERY limited. The MXO 2 won’t work…the machine doesn’t have connectors that will work. The I/O LA connects via firewire, but then your computer only has one firewire bus, so the drive that holds your media and the I/O LA will be fighting for control of that bus…and dropped frames may occur.

The iMac is fine for capturing and editing footage via firewire, but not really usable with professional capture cards or able to output to non-firewire formats. MacPros and MacBook Pros have expansion slots that make this viable…the iMac is a consumer computer. I know places that use them to edit HD video, but they have one MacPro to capture the footage, then 3 iMacs to edit it. But they still rely on the MacPro to capture and output to tape. So you might not be able to do what you want with the iMac.

[Trent Whittington] “The tape formats the television station will take are DVCPRO, SP Betacam and Digital Betacam. It also needs to be standard definition 16:9. “

Standard Definition is 4:3…or 16:9 letterboxed. No show airs 16:9 SD. Are you sure about those delivery specs?

Shane

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

[Neil Ryan]

You could shoot and edit in DV quite well on your iMac; many other students work this way. Use the appropriate Easy Setup and be mindful of field-order issues from any other sources you accept (such as motion graphics.)
Produce a DV master, check it on a video monitor, then have that dubbed to a format suitable for the network – I’d recommend Digital Betacam.
At every stage, work in widescreen (DV anamorphic) as this will help future-proof your film and give you more screening options internationally, which is the desire of most students. Check with the initial broadcaster about how they want to present your film: 4:3 centre-cut from your 16:9 master or as 16:9 letterbox. That way, you know, before you begin, whether to use all of the widescreen format, or to confine major elements including graphics to a 4:3 safe within 16:9.
Far easier to get 16:9 into a 4:3 format, than 4:3 into a 16:9 format.

Neil.

[Trent Whittington]

Hey guys, thanks heaps for helping me out. Just to show their delivery requirements here it is below. (I may have read it wrong).

Also, What MiniDv camera do you guys recommend?

1.

All material must be supplied (PAL) on DVCPRO tape, Digital Betacam tape or SP Betacam tape. Material may only be supplied on miniDV on prior arrangement with Aurora Community Channel.
2.

Where appropriate to the content of the material, you must, at the time of delivery of the material, supply to Aurora:
i

Music cue sheets including the titles, names and owners of copyrights of all music
ii

Photographs and biographies of artists and performers in the Program
iii

A general synopsis and/or episode synopses,
full cast list and credits
3.

Delivery of all material to Aurora will be at your expense. You will be liable for the physical Programs until receipt by Aurora when risk passes to Aurora.
4.

If any material is technically unfit, Aurora may request a replacement copy of the material you must provide this promptly at your own expense.
5.

As the channel is broadcast digitally, a standard definition PAL 16:9 format is preferred.
6.

Normal broadcasting standards apply: 60 sec 75% colour bars with 1kHz -20dBFS, 15 sec slates with program name, episode number, audio type, program duration, reel number and record date as well as your Group Name.
7. Preferably one tape per program, but if not, then no overlap.
8.

Time code 25fps. LTC EBU lines 18 & 20.
Closed caption on Line 21.
9.

Audio: Surround Sound, Dolby E for AC-3 support where available
Stereo: Channel 1 Left, Channel 2 Right
Mono: Channel 1 and 2
M&E: Channel 3 and 4.

10. All promos to comply with above.

[Shane Ross]

[Trent Whittington] “Also, What MiniDv camera do you guys recommend? “

DVX-100b. Or better yet, HVX-200a. Shoots DV, and gets you prepared for HD. But the DVX is a great camera, and is cheaper.

And with those specs, outputting to DV then dubbing to digitbeta or other format would be very viable. As you need to do so to get closed captioning onto the tape anyway.

Do you know how to deal with all of this? Those are pretty standard specs, but unless you know how to prepare for closed captioning and what the cost involved it…you might be taken aback.

Shane

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

[Trent Whittington]

We learnt at Uni the basics of delivering for broadcast like ‘super white’ isnt broadcast safe etc. but nothing really in depth. Our lecturer said he would gladly help us get it to air if he had time but would want us to do some research first.
I have just one more question, does it make a difference capturing via firewire from the camera or is it better to have a MiniDv deck?

I really appreciate your help.

Cheers.

[Shane Ross]

[Trent Whittington] ” does it make a difference capturing via firewire from the camera or is it better to have a MiniDv deck? “

Nope…no difference.

Shane

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

[Paul Dickin]

[Shane Ross] “Standard Definition is 4:3…or 16:9 letterboxed. No show airs 16:9 SD.”
Hi
In the PAL world – including the UK and Australia – 16:9 FHA (full height anamorphic) has been the normal broadcast format since the late 1990s.
Letterboxing has more or less died the death.

Is the DVX-100b a FHA camera – I’ve always seen the DVX-100 used with an add-on anamorphic lens on the front.

[Neil Ryan]

[Paul Dickin] “In the PAL world – including the UK and Australia – 16:9 FHA (full height anamorphic) has been the normal broadcast format since the late 1990s.
Letterboxing has more or less died the death.”

Mostly … ABC Australia broadcasts 14:9 on SD.