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Putting to bed the "What's acceptable for broadcast standards" in USA
  • vicharrisvicharris

    For a long time now, I've heard people talk about what networks and cable will accept as min for broadcast standards in terms of mbps and spacing. I too drank the cool-aide and thought it was set in stone. Yes, I've heard many people in different countries getting footage accepted and also getting it turned down. Well, here's what's going on in the USA.

    For the past two weeks, I've been working on a Chevy National Commercial and just today a top rated CBS 1 hour show. The Chevy Nationals main cameras were old Arri film cameras which were pretty cool but they had a Canon C100 running around getting footage as well. I asked them about min broadcasting standards and they said there's no problem with the 24mbps footage they shoot with it to be accepted. Good to know. Now on to today, the CBS show. The main cameras where Alexas, no surprise there but 5 other cameras they were shooting with were a mix of Canons T2I or T3I, I couldn't tell which one, 5Ds and GoPros. I asked the DP about the footage and requirements and he said they shoot with these all the time and have no problems! Great to hear as well. I can't wait to see the episode and see how it all cuts together since I know what camera was shooting from which angle.

    The main point of this long, boring post, and I'm sure many of you know this and hopefully many don't, is that no matter what it's shot on, as long as it's done well and not a damn Iphone, it'll do!

    I've had worries about shooting on my GH2 and getting it past QC but now I don't. It's a nice feeling to have. I'm actually shooting something this weekend for broadcast and they had no problem with the GH2 as long as it doesn't look like shit. Hopefully I'll keep it in focus ;)

    Vic

  • 15 Replies sorted by
  • vicharrisvicharris

    @subco +1!!!

  • RamboRambo

    I've had a 30min show accepted for Universal Sports Network (NBC) shot entirely on GH1and GH2 with LPowell hacks and mostly 14-140 kit lens. The specs called for it to be shot HDCam1080i60 50mbps 422 and program delivered ProResHQ422. Most of it was shot on a really crappy foggy rainy day in poor light on SF Bay so not exactly idea footage. Will it go to air? Only time will tell, the Ad spots are sold apparently.

  • vicharrisvicharris

    @Rambo Well your stuff always looks good. Not sure what deal you made with the devil though!

  • RamboRambo

    Haha Devil, was a bit of a who you know type job, otherwise probably would not have got a look in. For some strange reason the 29.97 was 29.985 out of the GH2 in the lower FH mode, very strange but it adjusted ok.

  • vicharrisvicharris

    Oh, so you shot it in HBR or 1080i and converted it?

  • RamboRambo

    NOT HBR, shot it 1080i FH Mode (not FSH) and left it interlaced right thru the workflow. In hindsight, i would shoot 720p60 next time, up-res to1080 and export as interlaced.

  • LPowellLPowell

    @vicharris Look, your footage probably is acceptable, but you should know that "exceptable" is not an acceptable substitute for "acceptable"!

  • vicharrisvicharris

    @LPowell Damnit, I used the wrong word there eh. That's what i get for posting after a few beers. I'll just blame it on the Florida public school system!

  • peternappeternap

    vicharris > Damnit, I used the wrong word there eh. That's what i get for posting after a few beers. I'll just blame it on the Florida public school system<

    Blame it on Dragon Speak! I always do even when I'm not using it.

  • RicochetRicochet

    @ Rambo - what are the advantages of shooting 720p60, up-res and export interlaced? I shoot 1080i50 and carry right through the edit to export.

  • matt_gh2matt_gh2

    @vicharris @all Good topic - thanks for info. Does anyone have definitive answer to what is needed for feature film distribution, in terms of technical standards. I always shoot 1080 24P (with a hack/setting taking Mbps to ~100 or so, with audio recorded separately at 24/96. I'm assuming any footage/audio recorded to those standards can be used for a proper transfer to film or a DCP, in the event a large distributor wanted to theatrically distribute...as well as for converting to any other format (Cable/broadcast TV, iTunes, online, etc.) Is that accurate? The nut of what I'm asking is this "what should one be doing technically when shooting a feature film to guarantee that the footage/audio/final edit export is able to properly distributed through any channel (theatre, TV, online etc)? (I use Adobe Premiere Pro CS6 and After Effects, so any settings recommendations, and workflow recommendations are much appreciated).

  • fosterchenfosterchen

    @vicharris, I'm sure those shots from DSLR's and GoPro's are quick cuts, and would be upconverted to broadcast standard 4:2:2, even if it is not true 4:2:2, but once that is shown as such technically, nobody will argue with you.

  • RamboRambo

    @Ricochet, in tests I did, 720p 60 produced much higher bitrates and had much less jello than 1080i in FH mode, this is high motion footage shot from a boat. Plus the motion rendering looks much better (3Gop)

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