My first broadcast shoot! What settings?

[Mark Suszko]

You can edit in many different formats, then output to the format the station requires. A common format to edit well in FCP is proRes 422. Before you start, however… call your client or the station and ask for the specifications they want for programs aired on their channel.

Assuming they want a file in xdcam format:

Convert the Canon footage to xdcam-HD before you begin the edit.

Under “easy setups” in FCP7, you will find one for Sony XDCAM-HD. Use that for your timeline and your output to tape.

In your video filters is a section called Color Correction. In that sub-section is a filter called “broadcast safe” . Select everything on your timeline and apply that filter to it. That’s *supposed* to clamp the brightness and black levels to b within broadcast specs, but it isn’t magic and it isn’t perfect. To do that job better, you turn on the vector and waveform scopes, use the 3-way color corrector filter, and watch the scopes to see that you are actually within specs. Your “view” settings also have a setting called “range check”, that warns you with a little colored checkmark or exclamation point if scenes are too bright or too saturated for TV… you should always have that turned on. Turn on overlays and turn on safe title, while you’re setting the Viewer prefs. This guides you to keep graphics positioned in the proper part of the screen.

[Ernie Santella]

The better way to use the “Broadcast Safe” filter is to export the entire timeline, re-import as a single file and then add the filer. It works more accurately that way. There’s been a lot of posts about doing it that way.

Ernie Santella
Santella Productions Inc.
http://www.santellaproductions.com

[Shane Ross]

First off…editing for broadcast is a whole new beast. If you are unfamiliar with delivering for broadcast, either hire an online/finisher to do this, or seek their help personally. Same goes with audio…hire a professional mixer, or get the help of one. Broadcast requires a lot of things to be done very specifically.

As for workflow…I advise against converting to XDCAM. YOu are delivering XDCAM, but it doesn’t mean you need to edit in that format. Convert the footage to ProRes…edit that. Then under the FILE menu there is an EXPORT>SONY XDCAM option. This will export an XDCAM 422 MXF file…the type most broadcasters want when they say “we want XDCAM.”

But you MUST get the delivery specs from the place you are delivering too. ANd you must adhere to them strictly. Don’t know how? Hire someone who does. You might know how to drive a car, and even be a professional limo driver, or cab driver…but this doesn’t mean you are ready for the Indy500.

Shane
Little Frog Post
Read my blog, Little Frog in High Def

[Ernie Santella]

Not to get on a rant, but I’m pretty tired of every station wanting different specs. It’s insane. I deliver spots all the time to large and small markets and my latest insane conversation was this…

I was checking on Closed-Captioning requirements and they said, “Oh, it doesn’t matter, our broadcast server won’t show CC anyway”. WTF?

So, yeah, if you’re sending to a small market, 99% of the time, if it’s in the right codec, they’ll take it. Sad, but true.

Ernie Santella
Santella Productions Inc.
http://www.santellaproductions.com

[Vic Noseworthy]

Thanks so much, Mark. I have contacted the station, and they are sending me the specs. Your advice on workflow will definitely help! Much appreciated.
Vic

[Vic Noseworthy]

Thanks, Shane! I’m a bit antsy, but eager to learn. I’m pretty sure the budget is small, so not sure about enlisting hired help. Your advice is appreciated, for sure!

[Vic Noseworthy]

Thank you, Ernie! I’ll bear that in mind, for sure.

[Vic Noseworthy]

Hi, again!
I’ve received the specs from the station, and it seems the audio specs are the most daunting (the video specs I believe I understand much better!). The audio specs are as follows:
Audio File Format:
Uncompressed, 8 channel audio, 24 bit @ 48kHz, BWF, mapped into an MXF generic container (as per SMPTE ST 382:2007 standard). All audio channels must be contained within 1 MXF (audio) track.
Channel allocation (Channel Stereo Program):
Track 1: Lo
Track 2: Ro
Track 3: U
Track 4: U
Track 5: U
Track 6: U
Track 7: DV
Track 8: DV

The audio specs are confusing. Any clarification would be appreciated!
Thanks so much,
Vic

[Mark Suszko]

The audio specs are confusing. Any clarification would be appreciated!

LOmeans Left Only. RO mens right only. They want 2-track stereo with independent left and right on the first two channels, each one a stereo pair but panned all the way to one side or the other.

[Shane Ross]

I’ve onlined dozens of shows…been onlining for years…seen specs from lots of networks. I’ve never seen audio specs like that. My audio mixer might know what those mean…I sure don’t.

Shane
Little Frog Post
Read my blog, Little Frog in High Def