Acquisition guidelines for various networks?

[DC]

I'm hoping someone can point me to the right places for finding this information...

I know that networks can be picky about their allowable video acquisition and required percentages. I need to know the acceptable cameras, formats, frame rates, etc. for documentary/realityTV distribution on some networks:

Animal Planet

NatGeo

The Travel Channel

...your basic cable television, more or less.


If you could recommend one particular camera that would likely satisfy all the guidelines of most any network, which would it be? Proposed shoot is a modest budget and a pro (handheld) camcorder with a fixed lens would be ideal. I would def need to acquire footage in 4K (UHD). Also, I'm biased toward Panasonic cameras and that's where the bulk of my experience is.

Thanks!

 

[IronFilm]

It it is doco/reality and you're creating then trying to sell then all sorts of cameras could be used. Heck even a Panasonic point and shoot:


You can get a Panasonic FZ1000 for four hundred bucks or so secondhand:
https://www.eoshd.com/comments/topic/27057-lumix-documentary-shooting/

2x Panasonic FZ1000 for when you need to do multicamera interviews with a Panasonic GH5S (for grabbing evening/night shots, if your doco needs that as well) would be an excellent trio of cameras to get on the cheap.

 

[Imamacuser]

I don't know the exact answer, but the PBS Technical Operating Specifications would be a good place to start.

I don't think the camera brand or model really matters, just as long as it can record 10-bit 4:2:2 1080P at 29.976 FPS (you'll probably deliver it as interlaced though).

 

[David W. Jones]

Shop the concept first, not a produced show.

 

[scorsesefan]

I've done some broadcast work for ABC-TV and WPIX here in NYC. I've shot 23.97 and 29.97 in 8 bit 4:2:0 without issue. The delivery is usually 720p 59.94i H264 -- broadcast standards aren't incredibly high BTW. If you're worried about delivery transcode to 4:2:2 Prores HQ or similar. Honestly, I don't think the engineers will be raking over your footage to discover you haven't used a robust codec or color space -- as long as it looks good.

David is right, concern yourself with the concept (content). If they love what you've done they won't care if it was shot on a Fisher Price camera...

 

[Imamacuser]

You'll also want to make sure that the finished product has broadcast legal color and audio levels.

 

[deltoidjohn]

If you're shooting 10-bit 422 you'll be covered for pretty much all broadcasters requirements.

However if you're delivering a completed program they'll be far more concerned with the overall quality of the finished product than with the original recording format.

FS7 & C300mkII have been the kings in this domain for a few years now, and no doubt the EVA1 will start to become a major player too.

 

[puredrifting]

Everyone is right here, but keep in mind, camera specs really only matter for commissioned work generally. "Broadcast specs" went out the window to a point, when news stations sarted airing home video footage decades ago. Sure, if Netflix or PBS hires you, you have to hew to their specs. But if you produce good, compelling content with decent sound and picture, doesn't really matter what it was shot on anymore. You have movies shot on phones getting theatrical runs and you can see all kinds of lower quality video all over television and OTTs, its the idea that matters, the execution, not so much the camera or format anymore. That said, You are pretty safe with the Canon C300 MKII or Sony FS7 for almost any level of production these days as far as shooting on what is most popular.

So unless a network or studio is writing you a check to go shoot your project, allocate your budget intelligently. If someone is writing you a check, you generally have to shoot what they tell you to and contractually obligate you to. If you are shooting your own project and financing it without the help of your client, shoot whatever you can afford and concentrate more on concept and story than worrying about specs.

Story trumps all
Sound matters more than picture
Lighting matters to a point but cameras can shoot usable images in such low light now that many people fear that good lighting is somewhat retreating because you can get a recognizable, "acceptable" image with little to no lighting in many situations
At the end, if someone is going to buy your project, your master will have to go through QC, whcih will broadcast legalize it. It's much better if you bring your master file or tape (yes, a few outlets still request tape masters) to a QC vendor with levels, both audio and video that are already legal.