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explanations of DV variants
Color Bars, audio and Slate to put on Broadcast Tape
From AdamWilt.com -
(Below is just excerpts - click no the link for the whole article)
DV, originally known as DVC (Digital Video Cassette), uses a 1/4
inch (6.35mm) metal evaporate tape to record very high quality digital video.
The video is sampled at the same rate as D-1, D-5, or Digital Betacam video --
720 pixels per scanline -- although the color information is sampled at half the
D-1 rate: 4:1:1 in 525-line (NTSC), and 4:2:0 in 625-line (PAL) formats.....
What's the difference between DV, DVCAM, and DVCPRO? Not a lot! The
consumer-oriented DV uses 10 micron tracks in SP recording mode. Sony's DVCAM
professional format increases the track pitch to 15 microns (at the loss of
recording time) to improve tape interchange and increase the robustness and
reliability of insert editing. Panasonic's DVCPRO increases track pitch and
width to 18 microns, and uses a metal particle tape for better durability.
DVCPRO also adds a longitudinal analog audio cue track and a control track to
improve editing performance and user-friendliness in linear editing
operations......
DV formats are typically reckoned to be equal to or slightly
better than Betacam SP and MII in terms of picture quality (however, DV holds up
better over repeated play cycles, where BetaSP shows noticeable dropout). They
are a notch below Digital-S and DVCPRO50, which are
themselves a (largely imperceptible) notch below Digital Betacam, D-1, and D-5.
They are quite a bit better than 3/4" U-matic, Hi8, and SVHS. ....
From DVinfo..
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I don't believe there is a standard procedure
for this. Normally you would create a master on
a 2-hour tape. If the broadcaster will stick
commercials in, your master might end up shorter
than the full 2 hours and fit on like a
90-minute tape.
So you should probably talk to them.
1b- Because you have miniDV it is difficult to
create a proper master (e.g. you want your
program to start on the timecode 1:00:00.00....
but most consumer cameras don't let you do that
over Firewire easily).
2- They will likely have someone looking through
the tape trying to figure it out.
I would:
--Have a minute or a minute and a half of bars
and tone, generated from your NLE's bars
generator.
--Have a 10-second slate with important info:
name of project, total running time (indicate 1
of 2 tapes), audio channels (likely 1&2 are a
stereo pair), production company name + contact
Frame size: full frame 4:3 or anamorphic or 16:9
letterbox. (likely full frame 4:3)
--Have a 10 second countdown... for 2, the first
frame of 2 should be held for a single frame
with 1 frame of tone. This is a 2-pop and helps
check audio sync.
--Program should start at the timecode
01:00:00.00... but this might be hard to do on
miniDV. So you need to figure something out
there... possibly indicate the timecode on which
the program starts. If you do an assemble edit
from your NLE, the first TC will be 00:00:00.00.
--You have half of your program in there. At the
cut on the end, make sure you do something like
a fade to black there. You need the audio to
fade out to silence. And then in the next bit it
needs to fade up from silence. Otherwise they
may not be able to put together a clean audio
edit between the two segments.
--2 seconds after program end, put a frame of
bars& tone.
--Might as well put a title on the end
indicating to switch over to the next half.
--Video levels should be legal. If using FCP,
make sure that the broadcast colors filter
actually renders correctly.
The master created above is NOT a standard
broadcast master. But the point is that the
person on their side can hopefully figure it
out.
3- This is assuming they want to show the whole
thing. If it's news and they are cutting it
down, then they won't care too much how you
format it.
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From
Creative Cow .....For the market you are in, just call the Engineering or
news departments and ASK what they prefer: letterboxed 3:4, full-frame
center-punched 3:4, anamorphic widescreen in a 3:4 that they'll re-stretch, etc.
They'll often tell you, though maybe not right away. If you don't have the time
for that, then in your package give them the best shots both ways, 3:4 and
Letterbox or Anamorphic, and slate it that way. Leave a phone number slate at
the beginning and end of the tape asking them to call you with their preferences
for next time. This also lets you know they seriously considered running it.
.......I think the first question would be why to source on HD/Varicam?
If the goal is to provide this to the stations, chances are they shoot some
flavor of DV. Just go with a high quality SD 4:3 60i workflow and issue solved.
Tape Formats for TV: |
