Advice on PR->Digibeta

[andrew00]

Hey,

So I shot a music video on 5dmk2, converted to PR422 and now need to get it to digibeta as it's been accepted for TV.

The label's plugger also asked for a copy in dvcpro50, a codec I've not worked with before, but understand it's a SD codec.

Now afaik I should be giving the video in SD for the digibeta.

I was thinking for that I'd convert from PR422 to PR422 non hd, aka uk Pal file size etc and just use that.

Firstly is this cool?

Secondly, if I'm converting to dvcpro50 anyway, then can I just use this for the digibeta copy instead?

And if so, the video is 16.9, should I delivery a version in 16.9 or 4.3?

I've figured out if you use the padding option in Compressor it will letterbox the widescreen in a 4.3 video.

Am I on track here or just confused?

Oh and also, any way around the gamma issues w/exporting from FCP? My poor video has gone from looking lovely to all washed out and too red. I've got some colour tweaks in Compessor that make it look roughly the same but I'd naturally want it exactly the same!

 

[DJDecay]

Give them DVCPRO-50 interlaced SD for Digibeta, Digibeta is strictly NTSC SD spec, so it does not like anything else.

Someone will play your file from their machine in realtime and via SDI send it to the deck that's set to record. So your delivery has to have bars and tone + countdown slate, it has to have timecode offset 00:59:50;00 (10 secconds) where hour 01:00:00;00 is the start of your program material. So your 23.98 ProRes 422 sequence needs to get converted into DVCPRO50 Interlaced 29.97 - if they take Uncompressed, you can also use that, but it depends on the Deck operators ability to play such a big file in Realtime. But assume nothing. DVCPRO-50 interoperates with Windows and Mac equivalently.

Letterboxing vs. Squeze - spec for most NTSC broadcast stations will say letterbox (include 2 black bards in with 16:9 signal making it 4:3), even though you get the stamping effect on most wide-screen televisions.

Also your levels color and sound must be with in broadcast safe range, otherwise prior to going to air QC will kick it out, and you'll have to do it again.

That includes mono/phase monitoring, 0-100 or +7.5-110 IRE range, black ref, TC and program loudness levels acceptable to the station you're sending it to.


---- Nevermind, I re-read your post, and it says PAL at 25PsF --- So look around for what you need for that. It's still interlaced at 50i just don't know about it's own requirements including EBU specs.

 

[BWyldeck]

That includes mono/phase monitoring, 0-100 or +7.5-110 IRE range, black ref, TC and program loudness levels acceptable to the station you're sending it to.


Dude do you mind explaining this to me in a bit more depth. I always read it in the spec but usually just ignore it.

 

[DJDecay]

That includes mono/phase monitoring, 0-100 or +7.5-110 IRE range, black ref, TC and program loudness levels acceptable to the station you're sending it to.


Dude do you mind explaining this to me in a bit more depth. I always read it in the spec but usually just ignore it.

Not at all so long as someone will sticky it, I get about 1 per month of "sending this to broadcast" or Digibeta layoff to tape or DG Fastchannel etc...

It all has to do with what the station is used to receiving, and what they're using to getting from a big post-house is someone standardized, and they "big post house" have their own QC dept do take care of all of this, including silly stuff like the wrong field dominance, or text logos dancing in interlaced... etc...

That also for example includes being able to listen to the material in mono, (if you have such an old TV set...) and that means if phase cancellation occurs, the mono signal will become inaudible on granny's old wooden tv set... etc...

CRT monitors leak colors for example so anyone using old Cathode Tube color will see red drift further out than blue, etc....

Long and ever changing list, but there is a certain "expected" output, which even then gets kicked back to the post house.

Most of it has to do with being watchable on as many devices as possible for their viewers, backwards compatibility grandfathered (see NTSC), closed captioning, and matching the rest of the program material in terms of color, signal etc, competing with compression used for digital delivery, and the artifacts it creates vs. bandwidth it has...

Same could be set for everyone asking about laying off a copy of their HD work to a SD DVD btw.. which should be playable in all possible devices, and for god's sakes should not be completed in DVD Studio Pro.