Broadcast specs questions

[Carleton Averill II]

Had a question regarding adhering to broadcast spec.

Working with a local television station to deliver my projects, what options for hardware or software exist that can assist with getting my project in their broadcast specifications? I use Adobe Premiere and I know that there's the broadcast filter for the video portion, but it doesn't feel like 'apply it and you're done' solution, there may be some shots that are altered in a negative way by the filter.

Also, something else I saw at the local station was a setup that when they passed the project through it, it spit out a list of time codes of exactly where any visual/audio spec issues occurred. Is there software out there that can do that which would help streamline delivery for broadcast versus watching shot by shot glued to the scopes on Premiere?

 

[Dermot Shane]

1) yes a broadcast safe filter/hardware is set to do excatly what it says, so if it clips and crushes levels then you might want to get an experienced colorist involved to adjust the shots while keeping them legal
2) yes pretty much all hardware scopes have a error logging function

 

[Marc Wielage]

Note that there are also some heavy duty audio specifications dealing with momentary and overall loudness that all broadcast projects need to fulfill, and this is true in most parts of the world nowadays. There are plug-ins that will check for proper ITU-R broadcast compliance and will give you a list of timecodes where the sound is too loud or too soft.

I would also get the specifcations from the station in writing so that you know exactly what they need in terms of signals, frame rates, aspect ratios, title placement, video levels, audio levels, program length, commercial positions, audio track assignments, and so on. This is not a simple area.

 

[Carleton Averill II]

Thanks for the replies.

So what software, plugins, hardware could I possibly get to assist in this?

As far as workstation, I'm using Adobe Premiere CS5 with Windows 7.

 

[Carleton Averill II]

*bump*

I'm looking for cost effective ways of properly monitoring footage (perhaps screen calibration tools?) and checking/correcting exports to the specs we discuss with the station.

Thanks

 

[Dermot Shane]

BMD's ultrascope has error logging, also there is piece of kit called ScopeBox on offer at about the same price point that i do not have direct experience with, but might be worth exploring

Callibration is a seperate issue, as is building up the skills to keep your show looking great while staying inside broadcast legal... just getting to a point where you can deliver shows that pass QC means really the other skills have to be gained on the way

there's alot of resources both on the web, and books worth exploring, bear in mind it takes a while to build the skill set that will let you sort issues with speed and confidence that you have made the best choices

I've graded 21 features in the last 24 months, i am constantly challenged by QC issues, but i do get very clean QC reports as i usualy sort the problems before QC.. biut it's not easy some days (rolling shutter from a GoPro comes to mind)

 

[Marc Wielage]

i am constantly challenged by QC issues, but i do get very clean QC reports as i usualy sort the problems before QC.. biut it's not easy some days (rolling shutter from a GoPro comes to mind)

One of my cheats is to provide what I call an "excuse list" for the QC department, warning them in advance of certain production issues or deliberate choices that are permanently in the feature and cannot be changed. For example, if the scene is ugly green and has a lot of glitches in it, we'll note that and cite it as "deliberate creative choice."

The sound problems can't be overriden, and for that you have to get the re-recording mixer to make sure they hit the correct delivery specs expected (for broadcast, theatrical, or home video).

 

[Simon Dunne]

Are you delivering on tape or digitally? Most places accept MXF files now. Stick some SMTPE bars at the front so that they can line up the file correctly on the scope. In Premiere, change your program window to waveform, then you can see everything as they will see it. The good thing with the bars, is that it's got a sub black....aka illegal signal. So, when you grade or apply the broadcast safe filter, it will clip everything below 0v and everything above 0.7v. Not sure of the IRE equivalent, but a quick google will throw up the results.

As for audio, in CS6 and higher, you can right click on the audio track and send it to audition. In audition, you can apply the loudness filter. For broadcast specs, in the UK, it was nothing higher than -12dbfs for peak audio, with a loudness limit of -23 LUFS from what i recall. Suggest that you move up to CC as it really does have all the tools to help you out. For advanced scopes, you can move the colour work in to SpeedGrade.

For screen calibration, you want something that can lock to the REC. 709 colour space with a colour temp of D65K. The HP dream color is good for this. Good luck!