DSLR + Broadcast on TV

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digifruitella

Active member
Let me just say that I think I know the answer to this through just some research I've already done but I still want to hear some responses and comments on this.

Short answer: DSLR use is a NO for majority of broadcast standards except for small bits and pieces to be used within a project that's fully shot on proper 10bit supported cameras. That's what I know. Unless things have been changing which I'm not aware of?

So here's the scenario. My job secured a client who wants a "Project Runway" like production and with goals for broadcast on TV, yet we have to shoot it all on DSLR. Now this was a red flag immediately for me as I'm aware broadcast quality isn't primarily DSLR. As an operator I feel that I need to relay these facts to our boss who needs to speak with the client right away about this and change the format or cancel the contract (if one was even made yet) and I have every intention to do that. But before I do that, I just want to hear some more information or comments about this scenario from anyone who knows more about broadcast standards as of 2015 or what have you.

Thank you.
 
DSLR video recorded onto external decks like the ATOMOS or ODYSSEY can be high enough quality for broadcast, or you can spend the time and money in post to transcode everything to a broadcast quality codec before editing. Both processes are more cumbersome, slow, and inefficient compared to using a better quality production grade camera to begin with. If special FX are to be a significant part of the look DSLR footage doesn't work so well either. For broadcast series production the cost of cameras is a small part of the total production budget anyway.
 
Shoot the project and earn the income.

Truth of the matter is it will likely never hit the air. I have worked on many of these type projects where someone thinks they have a great idea for a show, but no experience pitching, and they think they need to shoot a pilot. Even when you tell them flat out, that's not how it works.

Don't get caught up in any drama. Take their money and move on.
 
I think you'd be surprised at how much DSLR footage you see on TV in the US. The UK is quite different as the BBC has much stricter standards and a list of approved cameras and codecs.

That said, I'll second David with some added comments.

A pilot is generally going to suck, especially by comparison to the series if and when it gets picked up. A pilot is shot on shoestring budget, on a tight schedule, and is often the first true vizualization of the product, so it is bound to be a little rough around the edges. Even if the series is picked up, the pilot may or may not ever see the light of day.

None of that matters if the pilot isn't being produced by a producer with an established reputation, or at least with an experienced showrunner attached. Many networks won't even look at pilots and pitches from anyone other than production companies they already know and use. And, as David mentioned, pilots are rare beasts these days (more often, there will be a condensed sizzle reel that the showrunner will use). But, hey... there's always a reason to try, ln the way-off chance that it's the one great idea in a million that gets through those barriers (though that's a matter for the producer, not for you as the production company for hire).

If they are willing to pay you to do this, do it, and do the best damn job you can on it. Who cares if it doesn't go anywhere? You get paid work, and the client may even come back later for a pilot of the next great idea. I have worked on crappy pilots before, and they went nowhere. One of them was even shot for, and produced by, the network. I still got paid, and even learned some things along the way.
 
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what would be a good camera for this type of production? something like a canon c100 with an atomos ninja?
 
ugafan said:
what would be a good camera for this type of production? something like a canon c100 with an atomos ninja?
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None!

If you can't put together a pitch in two sentences that will hook them, it won't matter which camera was used, because they will never see it.
 
David W. Jones said:
If you can't put together a pitch in two sentences that will hook them, it won't matter which camera was used, because they will never see it.
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I think we're giving two different responses, for two different audiences, to one question. Just to clarify:

1) If a client hires you to shoot a pilot, even shot on DSLR, go for it. Have fun with it. Do your absolute best on it. Who cares if the pilot never goes anywhere? It's not your show, but it is paid work and a chance for you to establish a new return client and, by word of mouth if everything goes well, other clients down the road. If you aren't the creator/producer and it isn't your show idea, you are just production for hire and that's what counts. Make the client happy and earn income.

2) If you ARE trying to pitch a show on your own, most often even a two-sentence pitch will get you nowhere if you don't have an established reputation with the network. At the very least, you need to have a showrunner who has an established relationship with the network. Unknowns rarely get past the front desk. There's another, major obstacle to think about as well, and that's protecting your intellectual property.

Many networks will not accept any submission (pitch, treatment, sizzle, or pilot) without claiming ownership of the idea. In other words, to submit to XY Network, you send them a proposal in any form and they claim that they own it from there out no matter what happens. So, if the show doesn't get picked up, it will never see the light of day anywhere because XY Network owns it now and you have no rights to submit to anyone else. You no longer own even the idea of the show. So, if you are reading this and are planning to pitch a show to a network, think carefully before you do, and perhaps consult an attorney who specializes in the entertainment industry to see how you can protect your idea before it's rejected and shelved for eternity.
 
Should I still say anything about this since it's our production company that's shooting on DSLR and (at least to my knowledge, not a request of a client) - that piece of info might be crucial.
 
digifruitella said:
Should I still say anything about this since it's our production company that's shooting on DSLR and (at least to my knowledge, not a request of a client) - that piece of info might be crucial.
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Ah, I thought that it was a client demand to shoot on DSLR. That changes things. If the client is hiring you to make a TV show, then you better make sure that what you make will be useable as a TV show and meet broadcast specs. If they're hiring you to make a sizzle that will never see broadcast, but just has to look good enough to get some interest in developing the show, then yeah...DSLR is fine. You should definitely clear it up with them before you shoot this.
 
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