Re: Delivery to TV station workflow by Ed Dooley on May 25, 2008 at 5:23:41 am
A major network will tell you "exactly" what they want. Ask them.
And a "major network" is shooting with an HVX200? And why would you assume ProRes, why not the codec it was designed around, DVCProHD (100)?
Ed
[Scott Wright]"I am cutting a show for a major network in HD. They are shooting in 720 (instead of 1080, don't ask, loosing battle).
Anyway, I am wondering what you guys and gals have come up with concerning workflows for deliverables.
Because of the camera they are using (HVX200) I'm assuming that a conversion to ProrezHQ is in order for editing. But where from there?
Re: Delivery to TV station workflow by Shane Ross on May 25, 2008 at 7:48:05 am
If you shoot DVCPRO HD on the HVX-200, the only option you have is DVCPRO HD. It doesn't recompress to ProRes. Only AVCHD and AVCIntra offer that option.
I edit shows shot in 720p from the Varicam and HVX-200, and I deliver a 1080p HDCAM tape, and digibeta tape...as per network requirement.
Re: Delivery to TV station workflow by Scott Wright on May 25, 2008 at 7:52:31 am
Ahhhhh. Apparently the camera man did not follow my instructions. Thanks for the heads up. Since some of the footage has already been shot in the other format. Hmmm.
Any thoughts on image degradation translating from AVCHD to DVCProHD?
Re: Delivery to TV station workflow by Scott Wright on May 25, 2008 at 11:45:40 pm
Ok, if the HVX200 only records in the DVCpro format then I'm confused.
According to the above posts, Final Cut Pro is capable of editing DVCpro in it's native format.
The P2 records in the "MXF" format. Is this the native DVCPro file format?
Also,
The only way I have found to import them is through the "Log and Transfer" dialog box, and it shows the "P2 Plug in", and it states that the format is "P2 AVC-Intra" and it is transcoded to "Prorez 422 HD".
Re: Delivery to TV station workflow by Shane Ross on May 26, 2008 at 1:47:46 am
[Scott Wright]"According to the above posts, Final Cut Pro is capable of editing DVCpro in it's native format.
The P2 records in the "MXF" format. Is this the native DVCPro file format?"
Native DVCPRO HD is a tape format. Panasonic then developed the P2 technology and a way to encode native DVCPRO HD as an MXF format. So that camera shoots and records....HD...as DVCPRO HD in the MXF file format.
[Scott Wright]"The only way I have found to import them is through the "Log and Transfer" dialog box, and it shows the "P2 Plug in", and it states that the format is "P2 AVC-Intra" and it is transcoded to "Prorez 422 HD"."
AVCIntra is a different codec from DVCPRO HD. That is a higher end 10-bit codec that is only available on the HPX-3000, and an option on the HXP-2000. That codec doesn't have native support so it gets transcoded as ProRes or AIC.
DVCPRO HD is imported as DVCPRO HD...can't transcode to anything else.
Re: Delivery to TV station workflow by walter biscardi on May 25, 2008 at 10:50:13 am
[Ed Dooley]"And a "major network" is shooting with an HVX200?"
Sure, why not? Ever hear of "Dirty Jobs" on Discovery? You can see the HVX-200 in almost every episode. Ever hear of "Deadliest Catch" on Discovery? Around 50 Z1U HDV cameras are used per season. "Good Eats" on the Food Network uses the 200 as the B-Camera and every season of "Feasting On Asphalt" has been completely shot on the 200.
Not sure what the implication is here but the 200 is a solid broadcast HD camera.
Walter Biscardi, Jr.
Biscardi Creative Media HD and SD Production for Broadcast and Independent Productions.
Re: Delivery to TV station workflow by Ed Dooley on May 25, 2008 at 1:52:00 pm
Yeah, b-roll. When someone says it was shot on an HVX200, they generally don't mean "I'm editing a show that was shot on an HVX200, which actually was only the b-roll camera" :-)
When he said "major network" the thought of the Food Network didn't even cross my mind.
I've shot some stuff with the 200, and it worked out OK, although I think it's the softest image of any of the 1/3" chippers.
Ed
[walter biscardi]"[Ed Dooley] "And a "major network" is shooting with an HVX200?"
Sure, why not? Ever hear of "Dirty Jobs" on Discovery? You can see the HVX-200 in almost every episode. Ever hear of "Deadliest Catch" on Discovery? Around 50 Z1U HDV cameras are used per season. "Good Eats" on the Food Network uses the 200 as the B-Camera and every season of "Feasting On Asphalt" has been completely shot on the 200.
Not sure what the implication is here but the 200 is a solid broadcast HD camera."
Re: Delivery to TV station workflow by Andy Mees on May 25, 2008 at 7:50:44 am
FWIW They will probably accept delivery on HDCAM tape ... but their technical specifications for delivery will likely be very specific, so its not just what physical format to give them you need to concern yourself with, but also ensuring that it will pass QC once they receive it.
Every network, major or otherwise, will have a document spelling out their requirements for deliverables of commissioned work and you need to ask for it if for some reason this has not already been provided to you.
Lots of folks here on the Cow routinely work for or deliver to major networks, its nothing to be worried about. If you let us know which network you may find that someone here is able to help you quite specifically.
Re: Delivery to TV station workflow by walter biscardi on May 25, 2008 at 10:47:57 am
[Scott Wright]"I am cutting a show for a major network in HD. They are shooting in 720 (instead of 1080, don't ask, loosing battle)."
What's the difference? Good Eats is the #1 show on the Food Network and they've been shooting 720 from the get go. I prefer 720p for all our HD Production as well since the file sizes are smaller. We just convert to 1080i during the mastering process.
[Scott Wright]"Anyway, I am wondering what you guys and gals have come up with concerning workflows for deliverables."
Contact the network and ask for "Technical Specifications" Sometimes this is called the Producer Handbook. There will be anywhere from 10 to 100 pages dealing directly with deliverables and exactly how they must be set up. Do anything wrong, including something as simple as the incorrect layout of the show slate, and you fail Quality Control.
[Scott Wright]"Because of the camera they are using (HVX200) I'm assuming that a conversion to ProrezHQ is in order for editing. But where from there?"
As others have suggested, DVCPro HD. We have been cutting DVCPro HD for network broadcast going on four years now.
[Scott Wright]"What would you send to them?"
Whatever they ask for. Anything else will be rejected.
Walter Biscardi, Jr.
Biscardi Creative Media HD and SD Production for Broadcast and Independent Productions.
