Lenilenapi
Carbonite Member
Does anyone know if PBS or other networks will accept shows shot on DSLR's?
PBS rules about DSLR's
- Thread starter Lenilenapi
- Start date
handsome pete
Well-known member
While there are those in these forums that have shot stuff for various networks, it's probably best if you go direct to the source:
http://www.pbs.org/producers/redbook/index.html
They probably also have contact info there if you need to talk to someone.
I know a lot of networks have certain standards they claim to only accept. But the truth of the matter is that if you have material that is worth showing, they'll want it.
http://www.pbs.org/producers/redbook/index.html
They probably also have contact info there if you need to talk to someone.
I know a lot of networks have certain standards they claim to only accept. But the truth of the matter is that if you have material that is worth showing, they'll want it.
andythefilmer
Veteran
The House season 6 finale was shot on a 5D MK2 as well as many other televised videos. Shouldn't matter...
handsome pete
Well-known member
It's not quite as simple as that. For one, House was already an established big time production. They have the influence and creative leeway that the OP obviously wouldn't have.
Second, a lot of networks do have specific acquisition and delivery requirements. I'm not sure of the current situation, but for example I remember Discovery had some pretty stringent requirements a little while back. Same with Nat Geo.
When network officials say no to something because it doesn't meet their requirements, then you can't just say, "but House was shot with it." It doesn't work that way.
But as I said before. If you have something that people will want to watch, chances are then the requirements may just get thrown out the window.
jghenderson
Well-known member
Well considering that in a few months I will be part of a crew shooting a pilot for a TV series we are pitching to PBS and will most likely be shooting on DSLR's, they had better accept them.
ChuckS
Veteran
You might want to find out first. Are you shooting a pilot FOR PBS, they're paying you to produce it or are you producing a pilot that your hoping they will pick up.
If its the former, you'll shoot with what they tell you (or budget for) but they will know going in, if its the latter if you don't meet their standards you'll end up with a great HOME video...
jghenderson
Well-known member
We are producing a pilot we will then pitch to them. I guess because shows like House used DSLR's I just made the assumption that was ok for all stations, but now that you mention I really should look into that first.
Barry_Green
Moderator
You really should. Various networks have different levels of technical standards that they expect you to comply with. PBS won't allow consumer HDV cameras, and your program can't have more than 30% "non-HD" content in it at all. They consider HDV and upressed standard-def to be "non-HD". I don't know if they've made a ruling about DSLRs or not yet.
There are many reasons why they enforce these specifications, and it really doesn't matter if an end user thinks it "looks good", it has to do with aliasing, ringing, compression efficency when they rebroadcast the signal, all sorts of stuff.
So -- bottom line -- if you are intending to pitch a particular project to a particular network, you really should find out beforehand what they think is an acceptable format. It'd be pretty disappointing to get all the way through with a production and then find out that they won't accept it because of technical issues, that all could have been avoided if you'd just asked first. :thumbsup:
There are many reasons why they enforce these specifications, and it really doesn't matter if an end user thinks it "looks good", it has to do with aliasing, ringing, compression efficency when they rebroadcast the signal, all sorts of stuff.
So -- bottom line -- if you are intending to pitch a particular project to a particular network, you really should find out beforehand what they think is an acceptable format. It'd be pretty disappointing to get all the way through with a production and then find out that they won't accept it because of technical issues, that all could have been avoided if you'd just asked first. :thumbsup:
Yes especially since Canon corporate influenced the House shoot.
BBC does not jive with DSLR's, unless they feel like changing their minds for the content, which they do.
NewYorkLion
Well-known member
also, keep in mind, LOTS of networks are still producing TONS of SD programming, in the last couple of months i've done shoots for Spike, MTV, Food Network, BBC, and G4, all non news except BBC, and all SD. Then, when it goes to air, lots of them uprez it and play it on the HD channels! some of them were shot in 4:3, and then they go ahead and do a crop. its insane. In addition to that, I also still shot lots on the z1u for broadcast.
This whole, no HDV on Discovery is total BS, and it only really applies to their top tier channel, which here in the states is called HD theatre i think.
This whole, no HDV on Discovery is total BS, and it only really applies to their top tier channel, which here in the states is called HD theatre i think.
Here, I have looked it up for you, their tech requirements state:
"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)."
From their manual here:
http://www.pbs.org/producers/redbook/TOS-1-2010-Submission-to-PBS.pdf
http://www.pbs.org/producers/redbook/specs/digital_television_dtv_requirements.html
So that would mean no DSLRS. Not for SD either as they require 3 chips there too.
Would they air your stuff if it was rad enough? Maybe, other people have had it done. But I sure wouldnt want to invest time/money into a production that already breaks the rules before it is underway.
"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)."
From their manual here:
http://www.pbs.org/producers/redbook/TOS-1-2010-Submission-to-PBS.pdf
http://www.pbs.org/producers/redbook/specs/digital_television_dtv_requirements.html
So that would mean no DSLRS. Not for SD either as they require 3 chips there too.
Would they air your stuff if it was rad enough? Maybe, other people have had it done. But I sure wouldnt want to invest time/money into a production that already breaks the rules before it is underway.
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No Red? No CineAlta? Makes no sense.
shaocaholica
Well-known member
Seems like they haven't updated it in a while.
Emanuel
Cross-Examiner
Exactly, that's the spirit. LOLThat or transfer the footage to an approved camera if they need proof
Don't take these standards so much for serious or you'll only end to share the part of fool(s)
It's all about to deal with finishing (= post) and... content.
I work at a post facility and I would advise you contact the post supervisor for info. Aside from that another important thing is what you are delivering it on.. not necessarily what you shot it on. They might ask for a D5 tape while you might be able to shoot on a DSLR. You just got to meet the requirement for delivery materials along with the ability to online it at broadcast standards. That involves a professional online running it through scopes and such. If you fail it will be sent back. Real time scopes are what most people lack. (they are expensive)
Where I work people shoot on all kinds of cameras but as long as it is mastered to the correct format they are asking for and broadcast legal is the important thing.
As for the standard def issue it is usually not really a problem. What happens is a downconvert is created off the D5, HDcam SR or other HD tapes to a digibeta. But all in all SD is slowly dying out. Most clients want a HD masters.
On making the downconvert it will be whatever the client requests such as a center cut or letterbox downconvert. Always master in HD especially if you shot in HD then in the future downconvert. If you have footage in SD obviously it will have to be blown up.
On a final note, keep in mind that if you have banding in your footage along with rolling shutter that could cause the tape to be rejected. So when shooting on the 7d avoid it.
Where I work people shoot on all kinds of cameras but as long as it is mastered to the correct format they are asking for and broadcast legal is the important thing.
As for the standard def issue it is usually not really a problem. What happens is a downconvert is created off the D5, HDcam SR or other HD tapes to a digibeta. But all in all SD is slowly dying out. Most clients want a HD masters.
On making the downconvert it will be whatever the client requests such as a center cut or letterbox downconvert. Always master in HD especially if you shot in HD then in the future downconvert. If you have footage in SD obviously it will have to be blown up.
On a final note, keep in mind that if you have banding in your footage along with rolling shutter that could cause the tape to be rejected. So when shooting on the 7d avoid it.
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jghenderson
Well-known member
I'm definitely going to talk to the executive producer about this so hopefully he will be contacting PBS soon. I will let you guys know what they say.
ChuckS
Veteran
Just a thought, why don't you contact them to find out what the requirements are so that you can help him/her through the process smoothly or at least have an intelligent conversation about it.
If you leave it up to the produce there's a chance that they will get intimidated, standards tend to make things sound much harder and more expensive than they need to be.
Most of the Executive Producers I work with are not that technical and all they hear is "that D--- thingy is going to cost more, lets not do it..."
If you leave it up to the produce there's a chance that they will get intimidated, standards tend to make things sound much harder and more expensive than they need to be.
Most of the Executive Producers I work with are not that technical and all they hear is "that D--- thingy is going to cost more, lets not do it..."
Please do. I'll be shooting a pilot for my local PBS station soon with the possibility of regional and national airings. Would love to know others' experience.