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Ok Guys… it’s Deliverables time – have some ?’s.
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no, you’ve definitely got a point, and that’s pretty much been my motto throughout this whole project. I’ve been asked to put the cart before the horse a number of times (hence not being broadcast safe to begin with), this time it’s less an issue of desire to have it done sooner and more a literal lack of time on my part combined with a lack of anyone else who can do it.
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[Andrew Kimery] “If I was me I’d hold off on doing all this until I had a buyer.”
Yes, but the reality is that masters that adhere to broadcast standards are created every day on projects without buyers. There are times when you’ve simply got to finish and so long as you keep everthing within spec you should be just fine. But, you’ve got to get everything to spec first.
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, and Indie Film & Documentary forums.
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Since you are delivering this for TV broadcast how many act breaks have you included? How long are your act breaks, 5, 10, 15, 30 seconds? What is the requirement for total program time for a 2 hour broadcast? Have you left room for the broadcaster bug? These are only some of the many requirements that all change depending on what network picks up your show. There is no guessing involved. Once the show is purchased the broadcaster will give you a copy of their deliverable specs. No two broadcasters spec is the same.
Some may want 23.98, some 29.97. They may want a letterbox SD and not anamorphic.Can you see where I’m going here.
Michael Alberts
Ambidextrous Productions, Inc.
http://www.ambidextrous.net -
Michael,
I totally see where you’re coming from. Some of the buyers we’re going for are pay TV, others are other miscellaneous cable, and a few are network, you’re totally right, they are all going to have various requirements that we’ll have to fulfill, and it’s very difficult to prepare those deliverables until they’ve told us what they need. David has a point though, that we can begin QCing the film and making sure it’s all in spec already so that’s one less thing to do once we have the buyer’s requirements for the project.
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[Michael Alberts] “Since you are delivering this for TV broadcast how many act breaks have you included? How long are your act breaks, 5, 10, 15, 30 seconds? What is the requirement for total program time for a 2 hour broadcast? Have you left room for the broadcaster bug? These are only some of the many requirements that all change depending on what network picks up your show. There is no guessing involved.”
Indie filmmakers without a buyer shouldn’t worry about all of the things you mentioned above, they simply need to tell their story and get their projects out into the marketplace. Broadcasters acquire finished projects all the time and are quite used to conforming those projects to their needs one way or another, either in-house themselves, or by getting producers to do it themselves.
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, and Indie Film & Documentary forums.
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[David Roth Weiss] “Yes, but the reality is that masters that adhere to broadcast standards are created every day on projects without buyers. There are times when you’ve simply got to finish and so long as you keep everthing within spec you should be just fine. But, you’ve got to get everything to spec first.
“david,
It seems like you’re contradicing yourself. In one post you’re saying go ahead and finish it, and in another you’re saying the buyer will do it. So which one is it?
Broadcasters acquire finished projects all the time and are quite used to conforming those projects to their needs one way or another, either in-house themselves, or by getting producers to do it themselves.
If money is tight, and in this case it sounds like it is, then I’d suggest that you go NO FURTHER than a viable screening copy. If you sell it, then you can finish it properly. Until then, you’re wasting time and money.
Mark
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Mark,
I’m simply suggesting that Kristoffer QC the existing timeline, CC it get it within spec, and get it out there in the marketplace. Its why I avoided discussing all the other details. You and I seem to be in agreement.
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, and Indie Film & Documentary forums.
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Hi Kristoffer:
Not sure where you are located but if you are in LA, I noticed that Michael Alberts chimed in here. Just wanted to say that Michael provided these services for an A&E Biography that I produced and he is and his facility are very good at making your project meet the specs, we had no issues or problems with delivery to A&E.
I highly suggest farming this out to people who do this for a living. At the very least, you can output to your master format and they can make sure that it conforms to broadcast standards so you don’t get rejected during QC.
Dan
Providing value added material to all of your favorite DVDs
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Hi Dan,
Thanks for the compliments. We actually purchased our own building recently and start construction on the new facility next week. I’ll update you when we’re ready to move in. We’ll be throwing a big party!Back to Kristoffer’s dilema: I really feel you’re spinning your wheels at this point. As Mark pointed out, a simple screening DVD is all you really need at this point in order to find a buyer. As for renting Digibeta’s and D5’s you’re in for a real shocker. D-Beta’s generally go for $300/day and a D5 runs about 800/day. If you’ve never done the mastering process it’s going to take you some time to get it right. In the long run it’s probably cheaper to make a QT file and take somewhere with those decks.
One thing you can do yourself right now is to QC the project yourself. However, that’s not as easy as it sounds either. Just slapping a FCP broadcast safe filter on the movie in many cases doesn’t take care or all the color or RGB gamut issues that will get kicked back by a network. A good set of hardware scopes should be able to warn you of these issues before you make you output however.
Best of luck. If you need more help there are plenty of people on the Cow willing to help.
Michael Alberts
Ambidextrous Productions, Inc.
http://www.ambidextrous.net
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