Exporting for broadcast

Hi, I have a quicktime mov at these specifications:
Uncompressed 8-bit 4:2:2, 1920 x 1080, Millions
1920 x 1080 pixels (Actual)
I need to export it in various formats to be put on digi-beta tape to be broadcast on television
I tried exporting as square pixels, burnt them with toast as a DVD disc and when viewed on the tv the graphics look jagged
I need to have a SD PAL version ready - should forget square pixels? also should the feild dominance be set to lower?
Any help appreciated
Thanks

thanks a lot that's helpful. the problem is I want to show a demo of it on DVD
no matter what I do when burning a playable DVD.. I get a strobing flickering effect when I play it on the TV
It's quite a fine, detailed graphic - see here:
http://www.flash.uk.net/clients/Picture%201.jpg
I've tried exporting with lower feilds first. I set it to that in toast too. but no Affect
Any help at all appreciated

Similar Messages

  • Exporting for broadcast Problem

    Hi,
    I have just finished cutting an infomercial that is exactly 28mins and 30 secs. I am now trying to export it as a quicktime for broadcast. I am doing so by going to File - Export - Quicktime movie and using all of the current setting so that it matches my timeline. When I am done and I import the Quicktime movie into FCP to check it tells me that the timing is exactly 28mins and 30 secs. But when it is opened in any other program (like quicktime) it is being read as almost a second longer causing problems at the cable station.
    Is there a solution to this.
    Thanks
    Mark

    Well, 23.98 is NON-DROP frame timecode only. Meaning that 28:30 on it works out to be 28:31:18 in drop frame timecode. (If you don't know what drop frame timecode is, look it up in the wikipedia). So yeah, if they convert to 29.97 drop frame, they are adding 1 second and 18 frames. This is something that needs to be taken into account during the editing phase.
    I have a blog post on this topic...
    http://lfhd.net/2006/09/20/online-workflow-overview/
    Shane

  • Motion Export for Broadcast

    Using Avid and FCP to export uncompressed [None] QT clips into Motion for :30 broadcast spots. I am previewing/monitoring Motion video output thru Kona LHe card to broadcast monitor. Video out of Avid thru SDI Mojo or FCP thru Kona to this monitor looks great. Upon import of video clips into Motion, Kona preview of Motion timeline containing clips are choppy and interlacing is pronounced. Other Photoshop-generated graphic elements on same timeline are not. I suspect an interlacing issue, but am unable to resolve this. I note with interest that these video files arrive in Motion showing 'None' as a listing in the field order indication in the 'Properties' tab. I select the 'Lower Field' in the 'Properties' tab to negligible effect. Perhaps motion blur, field rendering, etc., will help, but am soliciting assistance from the experienced among those here on the forum.

    I understand WHAT "none" means, I was asking why. Why not stay in the same codec the video is edited in?
    As it is, have you viewed the "none" clips in QT? Perhaps the export created the problem?
    For NTSC broadcast, your best choice is Uncompressed 8-bit especially if you're adding text and gfx in Motion. It contains the same color sub-sampling as DV50 and is much friendlier to GFX and text.
    But in Motion, you don't have to make the decision on codec until you export. Export your footage in it's native codec, and work with it like that in Motion. On export, choose the Uncompressed setting.
    Andy

  • Exporting for Broadcast Question

    Hello Folks,
    Very simple question that I cannot seem to find sifting through the forums. We helped film some interviews for a broadcast station. They have requested that we send them digital files in .MOV format and .AVI format.
    The .MOV is of course no problem. It is the .AVI that is a problem. I know and have done the Quicktime Conversion to AVI and the process for Compressor to AVI as well. Multiple tests have not given me the results I need. The issue is the resolution and quality.
    The original files are off of a Sony XDCAM EX. They are 1080p at 30 fps (29.97). The image of course looks stunning and I was able to keep that quality with the .MOV
    It drops down the resolution size and the quality deteriorates substantially in the AVI format and that after I change settings as high as they can go, which I guess is not that high.
    So the question is this: Is there a way to export high resolution (1080 HD) AVI files from FCP or is there a third party software that will do this on Mac. I am fully aware that this may not be possible and I will not keep pressing for an answer when there may not be one. I am just trying to accommodate what we were asked for. So if someone could just tell me either yes and the solution or a no, I will greatly appreciate it. Thank you for your time folks.

    I would send them the .MOV files. If they can't play them, that's when you start dealing with .AVIs. A good quality AVI is next to impossible to get on a Mac. I think Microsoft has crippled the codec for Mac.
    So if they don't like the MOV files, then take them to a PC and convert to AVI.

  • URGENT - FCP exporting for UK broadcast

    Hi everyone,
    I have a really urgent question that I'm hoping someone in the know can answer - it concerns exporting PAL 16:9 video (with audio) from FCP, in such a format/compression that is acceptable for UK broadcast.
    I have recently started a video production business, and we've just been asked (at short notice) to film & export footage for broadcast on regional news in the UK (it only broadcasts in SD - so we've filmed in SD. It's going out on the BBC and ITV). It was filmed on a Canon XH-A1s, and the audio was recorded with a Rode NTG-2. We've got it all shot, captured and edited, and we now need to render it out.
    Thing is, we're faced with so many compression options, we don't know which one to choose! We've only ever really used H.264 .mov for web/YouTube videos, so we're totally new to the concept of exporting for broadcast. I assume it needs to be as uncompressed/high quality as possible? Or is there something totally different I should be thinking about?
    If someone can please do me a huge favour by providing the correct export settings for this situation, I would love you forever. Also, would the same principle apple if the footage is in HD, or would it require different settings?
    Many, many thanks in advance.
    - Josh.

    Here are the settings required by ITV if you're going to FTP your media ... or DVCAM tape?
    1) Windows Media Video v9 (.wmv)
    Bit Rate 4Mb/s
    720 x 576
    25F PAL
    Lower Field First
    Windows Media Audio v9
    160Kb/s
    48KHz
    Stereo
    2) Quick Time H264 (.mov)
    Bit Rate 4Mb/s
    720 x 576
    25F PAL
    Lower Field First
    ACC
    160Kb/s
    48KHz
    Stereo

  • Best compression rate in quicktime for broadcast

    HI -
    Haven't done an export for broadcast in a while. Looking the best codec to export to from FCP? Thanks

    This is a loaded question. What does the network ask for? If it is HD Cam SR then provide a transfer post house working with Final Cut with a Pro Rez file. If it is Digi Beta then 8-bit uncompressed or Pro Rez will do.
    Good Luck
    Z1

  • Export MXF with multiple audio channels for broadcast

    Hi,
    I work at a broadcast company as an editor. We always used FCP with the free sony xdcam plugin to export. This plugin seems to be one of the rare ways to export an MXF with 4 audio channels. I don't know exactly why we need to export it for broadcasting with 4 audio channels, but we do.
    Since our workload has grown enormously the last few months and it will only become more we are optimizing our workflow. We also work with a lot of different endboards in After Effects and we made a nice template to work with. And since AE and Premiere can make a dynamic link we are considering changing from FCP to Premiere.
    Now comes the question!: The only obstacle we could not find an answer to is exporting it with 4 audio channels as an MXF from Premiere CS5. Will there be some development on this level regarding CS6?
    A solution to this should save us a lot of time!
    Any help will be highly appreciated!
    I also attached an example for the usual MXF files we export

    I have the same problem. I have a project with multiple audio channels and I want to export them as individual channels in a MXF-file.
    Method:
    When I created a new sequence I choose "Multichannel" from the "Tracks" page. When I export the MXF OP1a, I choose 8 channels from the "Audio" page. None of the channels are muted.
    Result:
    The rendered file contains 8 channels, but only the first two channels contains any audio (main left + right), the rest of the channels are empty. Channel 1 and 2 contains the audio from all channels, but I want the channels to be seperated in the same way as they are layered in Premiere.
    I don't understand your answer to wleoni75's question. Could you please help me further?

  • Exporting Video B-Roll for Broadcast Use

    Hello:
    What format should I export my b-roll video in from an event? We're distributing it online via a download link but I want this file to be as easy for reporters to use as possible.
    Can someone explain the best process/format to export this in?
    Will Quicktime be best? If so what options do I need to select to keep the file large enough for broadcast use yet compressed enough to send via YouSendIt?

    Thanks. This might be a stupid question but how can I convert the output Quicktime from FCE to a MPG2? Are there any settings I need to check off?

  • How to export 8 mono audio track Quick Times for broadcast stations?

    Hi, I work for a post house for Broadcast commercials. We are moving to a tapeless format for mastering and file delivery to stations and Extreme Reach.  Is it possible to use premiere to export a single file with 8 mono tracks to support a 5.1 mix (Channels 1-6) and a stereo mix (7-8). We need the file to contain all 8 tracks of audio as mono single tracks.

    Hi FastCuts_Dallas,
    Check out this blog post by Gerard Tay: http://revuptransmedia.com/index.php/tutorials/our-contributors/441-exporting-multichannel -quicktimes-in-premiere-pro-
    Hope that helps!
    Cheers,
    Kevin

  • What is the best way to export a video for broadcast using FCE?  H264?

    I need to get the best quality HD video for broadcast using final cut express and I need to know all info and settings please?

    Hello,
    You need to find out from the broadcaster what specs they require you to meet.  H.264 is probably not it.

  • HDV mixed format editing and mastering for broadcast TV

    Hi
    I have HDV blues with regards mixed format and multi time base.
    Any help advice will be greatly appreciated.
    I have never handled HDV in multiformat and multiple timebase to Mater and output for Broadcast television.
    I am hoping to master to DVD directly on the configuration ( details provided below ) to deliver to NTSC and PAL market for DVD retail.
    However I would need to take to a post house, one or more quicktime file to Output to Digital Betacam for television broadcast for both NTSC and PAL formats.
    with regards
    problems I am facing are on two fronts:
    1) I am unsure of best quality and workflow to output master on Digital Betacam tape for broadcast TV in NTSC and PAL both formats.
    2) With sequence set at HDV 1080 50i, and export setting as current setting, upon render and export of self contained quicktime direct from FCP timeline I face few troubling symptoms;
    - that the quicktime exports 3mins to 35 minutes of qt clip but not the whole program of 90 minutes as one clip. System crashes and I have to reboot.
    - Another symptom is that by doing above my time line shows aduio as out of sync to video. here i see that Audio tracks A1,A2 as being torn apart at cut edit points and have gap of 1 frame at random ( but not on all edit points ).
    A3, A4 and other music and sound fx tracks have slipped off sync by few frames , again at random and also other places the edit comes back in sync with audio.
    - Of course I am having to re- render this sequence timeline a zillion times even though the previously rendered files still exist in relevant folder.
    Program duration: 90 minutes
    current sequence : 1440 x 1080 at 50i
    edit sequence time-line consists following source material directly ingested from tape via firewire in native HDV and DV:
    VIDEO
    -HDV footage of 1440 x 1080, 50i
    -HDV footage of 1440 x 1080, 60i
    -PAL footage standard and widescreen
    -NTSC footage standard and widescreen
    - still images
    AUDIO
    -AUDIO is 16 bits , 48Khz
    - Voice Over is 24 bit , 48 Khz
    Software: Final Cut Pro version 6
    QT: 7.4.1
    System configuration:
    1) Mackbook pro: OS 10.4.11
    graphics/ display card: GeForce 8600M GT
    Hardware Overview:
    Model Name: MacBook Pro
    monitor: one apple cinema display 23 inch
    Model Identifier: MacBookPro3,1
    Processor Name: Intel Core 2 Duo
    Processor Speed: 2.4 GHz
    Number Of Processors: 1
    Total Number Of Cores: 2
    L2 Cache (per processor): 4 MB
    Memory: 4 GB
    Bus Speed: 800 MHz
    2) Mac pro: dual core, 2.3 ghz, 3GB RAM
    two apple cinema display 23 inch
    All project media residing in 1TB Lacie 800 firewire external disk.

    Hi guys, thanks for getting back to me. My client has now changed her mind and so I'm just mixing XDCAM and HDV 16:9 footage which is absolutely fine. Awesome. Thanks for your help!
    I have one issue - some of the XDCAM footage she has given me is .MP4 video (actually each clip is a folder with 5 files in it (.MP4, .SMI, .PPN, .XML, .BIM). Do I have to convert the .MP4 into .MOV via Compressor to work with it (presumably this will compress it somewhat) or can I convert it simply and losslessly somehow (perhaps using sony XDCAM software?)
    Thanks again for any help!
    Oliver

  • Creating video for broadcast

    I'm about to start making some commercials for the company i work for.
    i've never done anything for broadcast before.
    most of the things i work on are for the web and for dvd.
    i'm using a jvc hd1.
    I guess i'm just asking for any advice that can be given...
    including how to get the best possible quality in every aspect..
    recording, capturing, exporting, etc.
    any help would be appreciated.
    thanks!
    cASEY

    Wow, Michelle. You are very professional in your practice. I wish more people in my market were like you. Although, I would like to modify some of her recommendations, and add some more of my own, too.
    First off, Michelle is right. :30 is not :30;00. It's :29;15, or 29;20 for me. However, with new digital video servers and automated playback units in Master Control rooms, even the big guns like Dodge, Budweiser and so on get away with :29;29. Since switching can be done on the frame level with computer controlled stuff, the margin of error is less. However, don't push it if you don't know what they have in the control room. Stick to :29;15, or :29;20 if you feel lucky.
    Thirty seconds of bars is a must. Record thirty seconds of bars at the beginning of every tape before you shoot. It will help during capturing later. At least :10 of a slate is good. Mine is about :13 (I have a special composited slate with a huge animated countdown that moves to killer rock music). However, with a countdown ending at 2, you can't put 10 seconds of black after that. I only put two seconds. Also, make sure you put at least 10 seconds of black at the end of the spot. Slates should include the client, title, version or revision if necessary, date, length, and names of important people (like editor and producer).
    If you use a cassette to archive your finished spots, put a "dirty" version with all the graphics, and follow it with a "clean" version, which has no graphics, and the music is placed on the left channel and the voice on the right (or vice versa if desired). I archive on hard drive using those rules as well. I also archive my bins, projects and sequences. The edit system I use for commercials is not FCP, so my bins and sequences can be saved outside of the project. This is helpful because you can always recapture your footage and recreate the spot if necessary.
    This brings me to my next point. DO NOT recycle MiniDV tapes. I've found that they fail quickly. Use a new one for each client, and keep all their footage on their own tape (or tapes). Include it in your operating cost, since they're $4 each. Doing this helps you if you have hard drive problems or if you need to change a shot in a commercial you made last year. Keep in mind the tip of recording bars for thrity seconds on each tape. If you need to recapture footage that starts 4 seconds into the tape, the process is a lot harder than if it starts 34 seconds into the tape. The second option is more automatic and it will make you happy. Another good idea is to record bars after your footage for thirty seconds. That way you have a separator between shoots. As long as the timecode remains consistent, capturing will never be an issue.
    That's it for now. I'm sure I'll think of more later.

  • CS3 XDCam export for FCP

    Currently running CS3 PP on PC.  Shooting xdcam that creates .mp4 files.  We have Matrox boards so editng in PP with 720p 60fps natively is no problem, no rendering with project settings set up properly.  Editing 2 to 3 and half minute features that need to be exported for use with FCP for broadcast in a production truck.  MOV files as quicktime makes the most sense, but what codec and how to create the best looking 720p HD feature while not giving the producer a huge file.  I've been told by him that a minute of HD video should be around 1 gig.  Do I need a third party (Sorenson, etc.) to create properly or use Adobe Media Encoder.  Or should I export as a movie.
    Really looking forward to getting some opinions and help on this.  Thanks!
    Tom

    You could ask the guys using FCP what codec(s) they like...thats your best bet.
    My producer for this project is not the "easiest" to deal with if you get my drift so to speak, won't give simple answers or take the time to figure it out and move on, so I'm left to figure it out for him.  He's never wrong
    you could try tests of small segments of your timeline ...using QT ( mov ) using jpeg 2000, animation ( RLE ? ) and UT YUL2 422 ( what renderer are you using for the project in premiere ? )..  these would make large files, probably have to deliver via external HD.
    Trying to keep files size small, playing out of his mac book and outputing in the production truck
    Basically fcp likes pro res 422 type stuff..I would ask those guys using FCP what would work best for them.
    pro ress 422 is not a codec that cs3 pp has as an option.  I did watch the producer use streamclip third party converter to get it to play out and it looked great during last night's broadcast here in Florida.  I think he said export as apple dv/dvcpro - ntsc, 1280x720 (HDTV 720p) and that worked for him.  When I bring that file into my project storyboard it is 16x9 but not scaled to my project specs.
    Thanks for your input, great to get my first reply in the forum!  Just recently joined after owning our system since Jan. 2009.

  • Premiere Pro CS6 for Broadcast ProRes HQ Frame rate issues

    I switched from Avid to work on a quick project with DSLR footage shot on the 5D Mark III at 29.97 psf which is not to be confused with 29.97i, a standard frame rate necessary for broadcast.   So the commercial spot was cut together, I punched in the proper settings (the very same settings that work with Avid 6.0+ and Final Cut Pro 7), and hit export.  When exporting either a Quicktime Animation or Pro Res file from Premiere Pro CS6, premiere creates a file with a faulty framerate, it comes out as 28.4 instead of 29.97.  I thought I was going crazy, but no, there are tons of documented experiences with 23.94 being 20-something, and on an on.  It seems as if Adobe did not do a good enough job with integrating the Pro Res codec into their software.  The only way I could get around it was to export to something else (Blu-ray H.264 at 29.97), and then re-encode that file to Pro Res HQ with either compressor or adobe media encoder.   The problem lies in exporting progressive footage as interlaced, it just completely screws up the frame rate.    The worst bit is that, I need Pro Res HQ for the distribution house for the commercial spots, they require the ProRes HQ MOV at 29.97i and if anything is off, I get charged for it.
    Does anyone else have problems with Adobe Premiere lacking on the professional end? Or similar experience with this problem?
    Just do a search for pro res frame rate issue premiere and you will see a lot of other users with the same issue.
    Thanks,
    C
    System Config:
    Mac OSX 10.8.2
    2.7GHz Intel Core i7 MacBook Pro 15" Mid 2012
    NVIDIA GeForce GT 650M 1024MB
    16GB 1600 MHZ DDR3
    256GB SSD + 750GB SATA (no CD/DVD)
    Premiere Pro CS6 (latest)

    Read the Warning here: http://ppbm7.com/index.php/tweakers-page/85-raid-or-not-to-raid

  • 16:9 "squeeze" for broadcast?

    i know this has been covered before, but i searched and couldn't find anything on it.
    i'm shooting 16:9 squeeze on a dvx100 for export to dvd and possibly film blowup. but i also want the option of broadcast airing.
    now i know if i go dvd, dvd players can detect aspect ratio and play correctly regardless of 16:9 or 4:3 screen (given on 4:3 it letterboxes.)
    but for broadcast...
    what i'm looking for is to have one master on beta sx that is widescreen but will air correctly on a widescreen tv set and letterboxed on a 4:3 set.
    will it do that or do i have to do a 16:9 AND a 4:3 version?
    and if i have two versions, if i use the 4:3, it won't be widescreen on the widescreen set or
    if i use the widescreen version, it won't letterbox on a 4:3 set.
    is this correct?
    anyoneone in this situation and how did you handle this?
    remember, i'm talking boradcast now....
    thanks in advance
    carl
    2.5 G5 dual, 2 x 23", 300GB SATA   Mac OS X (10.4.6)   Lacie 500GB, DSR-11, Event TR5 speakers, FCP 5.1, NTSC, Shuttle Pro, DVX100A
    2.5 G5 dual, 2 x 23", 300GB SATA   Mac OS X (10.4.6)   Lacie 500GB, DSR-11, Event TR5 speakers, FCP 5.1, NTSC, Shuttle Pro, DVX100A

    Here in Finland the digital broadcasters (still Standard definition) broadcast programs in either anamorphic 16:9 or in 4:3 depending on how the program was produced - the consumer DTV boxes do the same letterboxing of 16:9 content as DVD players are doing if your set is 4:3.
    Only the analog channels (which will be switched off next year) broadcast strictly in 4:3. The broadcaster does the letterboxing of any 16:9 content before transmitting.
    So in this scenario "anything goes". The preferred format here is 16:9 though, for future proofing.
    Cheers
    Rabbe

Maybe you are looking for