Do you need external recorder for af100 to be considered broadcast quality?
- Thread starter melodyj
- Start date
Erik Naso
Veteran
Are you referring to the networks or local affiliates. If its networks you should check with them direct to make sure. they can edit AVCHD. Just copy the card to a hard drive and give it to them. Either way you could just rent a external recorder for the project your working on. Ask questions to avoid issues.
Kindredmachine
Well-known member
Not entirely sure about US broacasters but the BBC requires an external recorder with the AF-100 to be considered broadcast quality. Someone can correct me if I'm wrong but I believe they prefer 4:2:2 50mb/s MPEG2? So just to be safe, I'd get a nanoflash anyway, that way you won't have any problems on ANY network.
Barry_Green
Moderator
The BBC approved the AF100 on the "HD Specialty" list, which is the same list that they have the Alexa, the F3, the Red One, and other such cameras on. All of them are required to be at least 50mbps and 4:2:2, so for those that don't have that internally (such as the F3 and the AF100) they do require the use of an external recorder.
But that's the BBC, and they're one of the pickiest. Whether whichever particular network you're looking to will require such, is a matter of asking them themselves. But as Brent said, if you get a Nano or comparable recorder, you'll be covered no matter what.
But that's the BBC, and they're one of the pickiest. Whether whichever particular network you're looking to will require such, is a matter of asking them themselves. But as Brent said, if you get a Nano or comparable recorder, you'll be covered no matter what.
simonpwood
Well-known member
Yeah, the only precedent that seems to have been set is with regards to the nanoflash, but not with other external recorders in general (not yet at least). The BBC and Discovery (along with some news broadcaster) seem to hold the Nanoflash MXF (minimum 50mbs) codec in high regard. So while the nanoflash wont guarantee that your project meets the minimum requirements it is definitely a step in the right direction.
aguia
Active member
http://www.pbs.org/producing/red-book/
PBS generally has the most stringent standards in the U.S., if Time/Warner/Discovery has higher specs I'm sure someone will let me know. The part you need to read is "TOS submission" and here is what they say:
2.1.2.1 HD program submissions are defined as those programs which have been acquired by
cameras which have three sensor chips, each at least a 1/2” diagonal in size with a minimum
frame size of 1280 x 720 and have been edited minimally as 3:1:1 -8 bit video (HDCAM
resolution).
There is somewhat of a "loophole" in that they accept digitally acquired and upconverted SD programs. In practice, programs that I have produced and were broadcast on PBS have been composed of WIDE varieties of original source material, then mastered to 1080i in an AVID MC suite and printed to Sony HDcam. While archival film and video based material are pretty obvious, I'm not sure how anyone could ever determine what camera the HD material (or even digital SD) originated on after being ingested into AVID and subsequently massaged in post for 3 or 4 months. The only thing the QC auditor ever came back to me about were some borderline hot chroma (very annoying since QC errors at this level can get pricey if you have to submit caption-encoded tape masters).
PBS generally has the most stringent standards in the U.S., if Time/Warner/Discovery has higher specs I'm sure someone will let me know. The part you need to read is "TOS submission" and here is what they say:
2.1.2.1 HD program submissions are defined as those programs which have been acquired by
cameras which have three sensor chips, each at least a 1/2” diagonal in size with a minimum
frame size of 1280 x 720 and have been edited minimally as 3:1:1 -8 bit video (HDCAM
resolution).
There is somewhat of a "loophole" in that they accept digitally acquired and upconverted SD programs. In practice, programs that I have produced and were broadcast on PBS have been composed of WIDE varieties of original source material, then mastered to 1080i in an AVID MC suite and printed to Sony HDcam. While archival film and video based material are pretty obvious, I'm not sure how anyone could ever determine what camera the HD material (or even digital SD) originated on after being ingested into AVID and subsequently massaged in post for 3 or 4 months. The only thing the QC auditor ever came back to me about were some borderline hot chroma (very annoying since QC errors at this level can get pricey if you have to submit caption-encoded tape masters).
PBS/Frontline used some footage of mine from a DVX100 in 2008 and they didnt even blink a eye that it was SD in a HD show. At the same time it was just 30 seconds and when it comes to docs and news, if you have the shot they need it's almost irrelevant what you filmed it on. When it comes to higher percentages of the footage they'll be using in the show, then you should really try to stick with their min. standards.