PBS: AF100 go/nogo?

M

mcbob

Veteran
I'm working with a producer to create a pilot, currently intended for PBS (as a local station has shown some interest), and at least for the pilot would very much like to use AF100 recording externally for principle photography. Reading a thread from long long ago left the question open-ended as to AF100's acceptability within PBS TOS, and I hadn't seen an updated version.

There are more than a few of you out there making content for PBS, very much like to hear anything you have to say on the subject. Thanks.
 
I remember that back when it was up for discussion that the BBC approved the AF100 for content with a recorder. Not sure if that helps.
 
One of the two local PBS stations (yep, we have two) ran a special that was shot on a pair of GH2's about a year and a half ago that they produced in house. The CBS affiliate I was at at the time help a little with it (it featured our then chief meteorologist), and we re-aired it. No one cared what it was shot on, as the shooter knew what he was doing and it looked fantastic.

If your local PBS affiliate has expressed interest in it, check with them. If they don't care I say shoot on it. It's a pilot. If it get's picked up nationally, you can ask the home office if it's a big deal then about using it on future episodes.
 
Local PBS standards are usually not as strict as national PBS. You might find for local PBS, the larger markets might have higher standards. We produced a pilot that aired on local PBS last year. Originally started shooting in standard def with a Sony DSR-500 2/3" 16x9 CCDs to DVCAM. Finished shooting on a Panasonic HPX500 P2 HD cam. Mastered and to air on DVCAM. I would think AF100 would be fine. A few months ago national PBS ran a 3 part series about a high school that must have been shot with DSLRs, very bad skewing, etc, etc, maybe they don't care anymore.
 
Local broadcast stations in the US has delivery requirements and that's about it. National is a different ballgame. Definitely ask. It never hurts and get the delivery specifications in advance so at least you know. Good luck with the pilot!
 
You can certainly ask your local station for any specs, but I don't see how they would know what you shot it on. Unless you are delivering raw footage for them to edit? Otherwise you'll just be delivering a master either on HDCAM (perhaps a digital file if you're lucky) and there is no way they can know what the original content was shot on. Also, you can get PBS national specs from their red book, and if my memory serves me I don't remember anything in there about the specific camera or acquisition format, it only talks about delivery format. And that is a much bigger beast to worry about in my opinion - getting the sound mixed and the film color corrected to legal levels, any content issues (swear words for example), and then closed captioning and DVI.

I had a film broadcast nationally on PBS two years ago (continues to be sporadicly shown) and that was shot on a Canon XH-A1. Also, we are finishing a film now that our local station is supporting and will broadcast, and we have a national PBS strand interested - neither has ever asked about what camera it was shot on fwiw.
 
hscully said:
I remember that back when it was up for discussion that the BBC approved the AF100 for content with a recorder. Not sure if that helps.
Click to expand...
From what I hear, the BBC are using Canon C300's as minimum spec if they need a large format camera for basic broadcast use.
 
Before you shoot the pilot, check on the prospects of PBS doing anything with your idea. As I understand it, they do not purchase shows. That's why you see all of the underwriters at the beginning of the show. Producers get grants to make the show and then PBS airs it. If you know something different, I'd like to hear about it.
 
I currently have a 30 minute documentary up - AN ISLAND IN TIME - that is being distributed to PBS nationally via NETA - It has played in several of the major markets so far. It was shot entirely on the AF100, internal to AVCHD. I saw it on KCET in LA and it looked great. Several years ago MY NAME IS BELLE, shot on HDV! (Canon XL H1) played every major market - two years running (Asian American Heritage Month)...

I was one of the biggest complainers about Panasonic adopting AVCHD, but it really does hold up way better than I'd ever thought it would (I really crunched some of the stuff in ISLAND).. no "digital cliff" so far anyway...

If the show looks good, and they want the subject, and you can pass the finicky tech evaluation (that is the biggy) it will run. Interestingly, the only tech problem I've had recently was with a one hour doc presented nationally via KQED SF - BOYHOOD SHADOWS - and that was shot legal on DVCPRO-HD with an HPX500 - that camera got a really bad rap.. I finally got it passed (it will play in two weeks) but it was a huge pain. (I don't have external scopes and the FCPX scopes aren't as good as I'd hoped - plus they evaluate audio analog and I don't have external VUs).

Just saw the above post - PBS DOES NOT PAY FOR SHOWS UNLESS YOU'RE KEN BURNS OR THE BBC! In fact, you pay THEM! The good news is that if you get a commitment for national it's not too hard to get a grant to cover station relations and the other fees (about $35,000 for an hour show). But don't expect to make anything.. and the "back end", DVD sales, are great for the likes of DOWNTON ABBY, but for little guys like me, not so hot...
 
Last edited:
Thanks all, excellent to know. The local PBS station essentially parroted the PBS TOS-2013, which states 3 sensors, 1/2" minimum... which is part of the reason I was questioning if any single-sensor camera was "good enough."

The underwriting is being taken care of, a few sponsors on already from what I understand.
 
I'd still check... I know people are shooting a lot of single chip cameras for PBS though because it's the new thing, but sometimes you run into someone there who just wants to find a reason to say no... And PBS is traditionally slow at adopting new concepts - they still demand tape (HDCAM or Digi-BETA) for delivery - I haven't even seen a tape deck for nearly 10 years...

In reality, if handled well in post, there's no reason well-shot AVCHD shouldn't look as good on air as anything else (except to the pixle-peepers, but they're not PBS's audience anyway).

I should add that I make social-issue documentaries, and they (PBS et al) tend to be a little more flexible because of the subject matter.
 
love to see some of your work sometime... is "An Island..." available on DVD or otherwise yet?

Oddly though I might help produce for PBS, I don't watch PBS... we don't pick up the local broadcast back in the woods except on the odd super-clear day
 
mcbob said:
Thanks all, excellent to know. The local PBS station essentially parroted the PBS TOS-2013, which states 3 sensors, 1/2" minimum... which is part of the reason I was questioning if any single-sensor camera was "good enough."

The underwriting is being taken care of, a few sponsors on already from what I understand.
Click to expand...

Three sensors hmmm???? I guess that rules out the RED's
 
Revisiting with some info for future reference...

As I was researching this, I came across the PBS show "Mexico One Plate At A Time" with Rick Bayless

http://www.rickbayless.com/tv/season9/behindscenes.html

Watching through some of the BTS (esp. BTS ep. 3 so far) they're shooting at least 3 AF's, looks like they're recording internal only, a mix of Nikon and Lumix glass (14-140 no less). They even show one setup in the background where they're mounting one AF on top of another for a 2-cam to-cam. The show has Emmy nominations. So yeah, I think if the content is good enough, the camera is good enough.
 
mcbob said:
Revisiting with some info for future reference...

As I was researching this, I came across the PBS show "Mexico One Plate At A Time" with Rick Bayless

http://www.rickbayless.com/tv/season9/behindscenes.html

Watching through some of the BTS (esp. BTS ep. 3 so far) they're shooting at least 3 AF's, looks like they're recording internal only, a mix of Nikon and Lumix glass (14-140 no less). They even show one setup in the background where they're mounting one AF on top of another for a 2-cam to-cam. The show has Emmy nominations. So yeah, I think if the content is good enough, the camera is good enough.
Click to expand...

This is great!! What is the lens that the director is using at around 2:20 on episode 13? Is that the 7 - 14 mm?

http://vimeo.com/60503960

And what would be the purpose of doing the two AF100's, one mounted on the other? I could see that for like putting a GoPro or something small.. but I don't really understand what the point would be in this case.
 
Last edited:
That's a Nikon 24-70/2.8, with a GoPro mounted to the lens hood - sometimes a handy way to get a simultaneous ultrawide "safety" angle. It's on the cams in several other BTS shots... I've seen the 24-70, Nikon 17-35/2.8, and the Lumix 14-140 so far. I've also seen a Nikon DSLR of some sort shooting some of the BTS video.

The AF100 on AF100 action was (I presume) for Bayless' "to camera" talk in the "Season 9 Trailer." Like cue cards, if talent focuses on the tight lens, the eyeline isn't that far off on the upper wide lens.
 
What I find most interesting is that I haven't seen them with a 20x zoom 3 sensor type of camera. You would think with that kind of shooting, they would at least use one for b-roll every once in a while. But they're able to pull it all off with the AF100's and the occasional GoPro.
 
I've found that with the 14-140, my AF serves in the traditional small-sensor cam roles as well as (if not better than) my old HVX
 
You must log in or register to reply here.
Back
Top