GH13 Prores or LT - Doc aiming for HD Broadcast

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xocomil

Well-known member
I'm beginning to edit a doc shot with the GH13 which I'll aim to get broadcast on an HD channel over in PAL land.


After reading a number of threads about the suitability of transcoding to Prores vs Prores LT I decided on Prores (I know this might be an unpopular choice over here on DVSXuser, at least from the posts I read). Anyway, over on anther site a bunch of editors/colorists said to edit in Prores as the it is more robust during the journey to broadcast. However, after transcoding some footage I'm seeing how much space Prores will take up ... and it can be a tad heavy for my Macbook Pro 2.5 GHz in large doses.

Oh yeah, I will be doing some minor color correction but very few if any effects.


Any advice from those who've shot/edited for broadcast HD transmission?

Thanks.
 
Picture yourself in front of the client when the question comes up as the what codec the footage was cut on; you explain it was shot on prores 'light.' That's NOT what they're gong to want to hear weather it's holding up to your standards or not.
 
Check with your UK broadcaster. Most are specifying 50Mbps average bitrate, and there's a list of approved cameras for HD production. You will be expected to deliver a master on tape (probably HDCam SR) and this tape will be subject to stringent quality scrutiny as regards your video levels, captions and quality/loudness of your finished audio. You may be able to get a picture cut in your spare bedroom (be advised most commissioning editors like to pay visits to the cutting room) but you'd probably want to do the picture and audio finishing at a proper post-production house.

my 02
 
Yup the channel I'm aiming for expects masters on HDcam, though after speaking with the commissioning editor it turns out they're more accommodating as they program is specifically for independent doc makers working in faraway places - far away from London, NY, etc. I work out of Guatemala and it's unlikely that the commissioning editor (or acquisitions editor as the case may be) will be dropping by my third bedroom/office. But as you say, I might be seeking a production house in Guate City to help with grading/final levels.

The question for me becomes what difference there is in the way Prores holds up compared to Prores LT in the post process (once delivered).

Thanks for your time all
 
500 GB hard drive is $100. IF this is for broadcast at least use ProRes if not HQ. I can see artifacting after one generation i.e. color grading/effects in LT.

Noah
 
Thanks Noah. You've helped me make up my mind.

I suppose I might have to daisy chain a few esata/fw800 drives together then. I have a 1.5TB esata drive I'm using but have a feeling it'll fill pretty fast.

By the way, I've asked this question on another forum, but how do you organize your audio elements on the timeline for doc editing? For my news pieces I use what's copied below ... but editors in the newsroom tweak the audio and do the final mix and I presume panned audio makes this easier ...

Channel 1: track and English translations of SOTs ONLY (left channel only)
Channel 2: all original language SOTs (English or otherwise), PTC/standup, natsound – i.e. everything else. (right channel only)

Thanks
 
It depends where you are broadcasting it, but they have no way of really knowing what codec you shot it on. If you are producing a film and then trying to sell it for TV, I don't think they would ask what it was shot on if they liked it and wanted to broadcast it. You would be delivering on HDCAM anyway and so your sources could be anything really. I directed a film shot on HDV, which is much lower quality than ProRes LT and it is going to be broadcast on PBS in the fall. The final HDCAM passed QC just fine. The higher quality codecs will give you much more in terms of colors, latitude, ability to push in color correction, etc., but in the end it's the story that matters so focus on that first.
 
My usual tracklay is 1+2 for sync, 3+4 sync atmos, 5+6 spot fx, 7+8 music, 9 v/o. (By sync I mean ptc's and interviews). That's how my sound dept like it organised. You'll probably be asked for a file export of the audio timeline - like an omfi audio export or similar. This will give the dubbing mixer control of all the individual tracks you've featured in your cut - if it's for broadcast, I'm sure the channel will insist on an audio dub. Again, check with your broadcaster/post house. Good luck with everything.
 
Last edited:
Cosimo Bullo said:
Picture yourself in front of the client when the question comes up as the what codec the footage was cut on; you explain it was shot on prores 'light.' That's NOT what they're gong to want to hear weather it's holding up to your standards or not.
Click to expand...

I have never had a network ask what codec something was edited in.
But they will want to know what camera was used to acquire the footage, and have delivery specs you will need to meet.

All the Best!

Dave
 
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