FORUMS: list search recent posts

FCP Output for Broadcast

COW Forums : Apple Final Cut Pro Legacy

<< PREVIOUS   •   FAQ   •   VIEW ALL   •   PRINT   •   NEXT >>
Matt Jones
FCP Output for Broadcast
on Dec 27, 2009 at 7:08:26 am

Hey Guys,

I'll soon be editing a show for broadcast. I will be shooting on MiniDV SD, and editing in FCP. I need to output back to MiniDV for eventual transfer to Beta SP. It will be mostly footage, with some motion graphics included (nothing heavy, mostly After Effects stuff)

My question is, are there any output specs I need to use different from the standard output to tape method? I am asking this mostly due to the eventual transfer to Beta SP.


Return to posts index

Shane Ross
Re: FCP Output for Broadcast
on Dec 27, 2009 at 7:27:27 am

There are a LOT of things to do when outputting to tape for broadcast. Making sure that it meets the specs of the network that is requiring it...such as IRE levels (which tend to be standard...100 IRE on the top end, 0 IRE on the bottom...and not one decimal over or under!), Audio mapping and levels, bars, tone, slate information. Making sure that the timecode matches what they want, meaning show start at 1:00:00:00 with slate and bars BEFORE that.

Have you done this before?



Shane



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


Return to posts index

Matt Jones
Re: FCP Output for Broadcast
on Dec 27, 2009 at 7:02:29 pm

Thanks for the responses,

I have only done commercials and PSAs for local stations, as far as, broadcast work goes.

I do have the networks producer guidelines book, but was just curious if there were any "secret" output tricks I could use to get max quality.

Thanks


Return to posts index


walter biscardi
Re: FCP Output for Broadcast
on Dec 27, 2009 at 12:50:14 pm

[Matt Jones] "I will be shooting on MiniDV SD, and editing in FCP. I need to output back to MiniDV for eventual transfer to Beta SP."

Then you will want to stay in a MiniDV timeline for your entire edit. Your graphics are going to suffer due to the 5:1 compression of the DV format but you have no way to avoid this.

If you capture in another format, such as ProRes, and then lay back to DV tape, your video will suffer because it will get recompressed when it goes back to tape.

[Matt Jones] "My question is, are there any output specs I need to use different from the standard output to tape method? I am asking this mostly due to the eventual transfer to Beta SP."

Yes, as Shane alluded to, you need the technical handbook from the network and/or station you are delivering your final master to. You must meet all the technical standards in that book for video, audio and graphics specifications. The book from Food Network for example is about 70 pages, Discovery is about 20 pages for HD, PBS is well over 200 pages with their Red Book.

Failure to meet any of their specs will result in a failed Master and you will have to correct the problems before the show can air.



Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author.
HD Post and Production
Biscardi Creative Media

"Foul Water, Fiery Serpent" now in Post.

Creative Cow Forum Host:
Apple Final Cut Pro, Apple Motion, Apple Color, AJA Kona, Business & Marketing, Maxx Digital.

Blog!

Twitter!


Return to posts index

Matt Jones
Re: FCP Output for Broadcast
on Dec 27, 2009 at 7:15:46 pm

Thanks,

I do have the producers guide, and will follow their specs closely. I was simply wondering if there were any tricks to output the footage itself (outside of levels, color bars...etc) for max quality. Thanks for the responses guys, much appreciated!


Return to posts index

walter biscardi
Re: FCP Output for Broadcast
on Dec 27, 2009 at 9:41:53 pm

[Matt Jones] "I do have the producers guide, and will follow their specs closely. I was simply wondering if there were any tricks to output the footage itself (outside of levels, color bars...etc) for max quality. Thanks for the responses guys, much appreciated!"

Get out of MiniDV and edit in ProRes. Then master directly to DigiBeta without going back to MiniDV tape. Editing and mastering back to MiniDV means you are going to sacrifice the quality of your final master, there's no way around that.

For more quality go directly to HD.

Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author.
HD Post and Production
Biscardi Creative Media

"Foul Water, Fiery Serpent" now in Post.

Creative Cow Forum Host:
Apple Final Cut Pro, Apple Motion, Apple Color, AJA Kona, Business & Marketing, Maxx Digital.

Blog!

Twitter!


Return to posts index


Matt Jones
Re: FCP Output for Broadcast
on Dec 27, 2009 at 10:44:58 pm

Thanks again,

but the bad news is my boss wants it to be outputted back to minidv, so we can pay a guy to do the transfer to Beta.

Can I still utilize ProRes to MiniDv?






Return to posts index

walter biscardi
Re: FCP Output for Broadcast
on Dec 27, 2009 at 10:54:38 pm

[Matt Jones] "Can I still utilize ProRes to MiniDv?"

You can but that's a bad idea. Your VTR is going to add another layer of 5:1 DV compression to your output when you put it back on tape. That will look incredibly crappy.

Just stay with MiniDV with your entire workflow and deal with the compression issues, especially in your graphics.

Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author.
HD Post and Production
Biscardi Creative Media

"Foul Water, Fiery Serpent" now in Post.

Creative Cow Forum Host:
Apple Final Cut Pro, Apple Motion, Apple Color, AJA Kona, Business & Marketing, Maxx Digital.

Blog!

Twitter!


Return to posts index

David Roth Weiss
Re: FCP Output for Broadcast
on Dec 27, 2009 at 11:03:34 pm

[Matt Jones] "but the bad news is my boss wants it to be outputted back to minidv, so we can pay a guy to do the transfer to Beta."

I completely agree with Walter. Bring a file to the guy on a firewire drive and have him output to Beta. Your boss may think he knows what he's doing, but his way will greatly sabotage all the hard work you've put into the project.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™


A forum host of Creative COW's Apple Final Cut Pro, Business & Marketing, Indie Film & Documentary, and Film History & Appreciations forums.


Return to posts index


Matt Jones
Re: FCP Output for Broadcast
on Dec 28, 2009 at 1:01:32 am

Excellent,

I spoke with an editor friend of mine who suggested either sending off flash drives with the HQ files or burning dual-layered DVDs for each episode.

If i do choose to send off flash drives for each episode, should I still use the Apple ProRes codec? Other specifics specs I should use?

Thank you guys so much for your answers. I am new to this type of output(broadcast tv), so any info would be greatly appreciated.



Return to posts index

walter biscardi
Re: FCP Output for Broadcast
on Dec 28, 2009 at 12:08:58 pm

If you are not going to go back to MiniDV tape, then I would suggest Apple ProRes for the codec. NOT HQ. HQ is designed primarily for frame sizes larger than 1920x1080. You're just doing SD so stay with the regular ProRes.

This is what we do all day, everyday in our shop for SD material.

Just remember, you still need a show that meets all the specs of the network no matter how you deliver it to the post house doing the transfer.

Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author.
HD Post and Production
Biscardi Creative Media

"Foul Water, Fiery Serpent" now in Post.

Creative Cow Forum Host:
Apple Final Cut Pro, Apple Motion, Apple Color, AJA Kona, Business & Marketing, Maxx Digital.

Blog!

Twitter!


Return to posts index

Matt Jones
Re: FCP Output for Broadcast
on Dec 28, 2009 at 5:24:21 pm

Thanks so much,

I've done some tests with a recent commercial I've done (with ProRes) and it looks really good. Only problem is I'm getting some interlacing where there was none on the source. I suspect its unavoidable.


Return to posts index


David Roth Weiss
Re: FCP Output for Broadcast
on Dec 28, 2009 at 6:54:18 pm

[Matt Jones] "Only problem is I'm getting some interlacing where there was none on the source. I suspect its unavoidable.
"


If you are monitoring on a computer monitor it's unavoidable, however ProRes does not add the interlace.

It's quite possible that your hard drives are not completely up to the task of playing back ProRes in realtime, and so FCP is playing back at a lower framerate, thus causing you to see the interlace in the canvas.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™


A forum host of Creative COW's Apple Final Cut Pro, Business & Marketing, Indie Film & Documentary, and Film History & Appreciations forums.


Return to posts index

Matt Jones
Re: FCP Output for Broadcast
on Jan 1, 2010 at 7:49:54 am

Happy New Year


I had another question. IRE levels for black are 6.5 according to the guide, however isn't it 0 in FCP (digital?)


Thanks


Return to posts index

David Roth Weiss
Re: FCP Output for Broadcast
on Jan 1, 2010 at 8:01:33 am

[Matt Jones] "I had another question. IRE levels for black are 6.5 according to the guide, however isn't it 0 in FCP (digital?)"

Yes, "0" is correct.

Happy New Year.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™


A forum host of Creative COW's Apple Final Cut Pro, Business & Marketing, Indie Film & Documentary, and Film History & Appreciations forums.


Return to posts index


walter biscardi
Re: FCP Output for Broadcast
on Jan 1, 2010 at 12:43:18 pm

[Matt Jones] "I had another question. IRE levels for black are 6.5 according to the guide, however isn't it 0 in FCP (digital?)"

Black IRE are whatever you set them to be. I've honestly never heard of 6.5. 7.5 is the norm for standard definition analog video. 0 is the norm for digital video. Broadcasts will accept what is in their guide for standard definition video.

You can set the Black levels with Color Correction or the Levels filter. In Color, for example, you just set the Floor to 7.5 to achieve this.

Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author.
HD Post and Production
Biscardi Creative Media

"Foul Water, Fiery Serpent" now in Post.

Creative Cow Forum Host:
Apple Final Cut Pro, Apple Motion, Apple Color, AJA Kona, Business & Marketing, Maxx Digital.

Blog!

Twitter!


Return to posts index

<< PREVIOUS   •   VIEW ALL   •   PRINT   •   NEXT >>
© 2018 CreativeCOW.net All Rights Reserved
[TOP]