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

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

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.

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

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.

Best FC settings for broadcast?

Hello everyone,
I am relatively new at this, and I am looking for a better workflow and FC/compressor/ settings for our productions, and to solve a sound issue.
We use a set of Panasonic AG-HMC150P to capture external videos, so the footage is in HD (imported through ProRes)... sometimes we use our older Panasonic DVXs connected to a Tricaster to produce on-location multi-camera programs, and finally we record our studio programs on DV mini-tapes and/or recorded DVDs.
We need to produce each program in two formats: DVDs, and Mpeg-2 muxed to feed our video server (Cablecast), which in turns feeds a fiber-optic transmitter to the cable company.
At present what we do is import everything into a preset NTSC DV (3:2) 720x480 sequence (QuickTime Video Settings Compressor set at DV/DVPRO - NTSC) with 48 kHz- 16-bit audio. Then we basically send the finished product to compressor and export it to a standard best-quality 90-min DVD. We use that for our DVD copies of the program. Then what we do is grab the .ac3 and .m2v files created by compressor, and feed them to MPEG-Streamclip, exporting them as an Mpeg with MP2 audio stream; which creates the mpeg-2 file for our cablecast server.
So the first question is this: is there a better/efficient sequence setting or workflow we should use? Should we use one sequence setting for DVD production and then copy the content onto a different sequence with different settings for broadcast/mpeg-2 encoding?
The quality of the mpeg file (when played from the server onto our monitor) is quite good, although I am noticing a loss of quality when I watch the program on TV at home (some visual artifacts and occasional pixellations), but my main problem is sound crackling when the program displays lower thirds (occasionally), more pronounced when PPT files converted to jpeg graphics are displayed in the program. I am VERY careful to keep white levels below 90 IRE (or whatever the scopes indicate as being 90%) and apply broadcast safe filters (chroma and brightness). I keep my average sound level at about -12 dBFS with peaks not exceeding -6 dBFS (sound is compressed in SoundPro).
Any idea what might be causing the crackling? Thank you for any help you can provide...

I found the custom settings that I'd made from the DVD Best 90 minute preset and pasted them below. I made these based on a screen shot that my client provided of an MPEG Streamslip settings window.
Stefan, you should be able to start from any of the DVD presets in the Settings window. Then click "Duplicate Selected Setting" (just below the Settins tab, 3rd button over) to add a copy to the "Custom" settings folder. Select the copy, make changes in the Inspector window and then click "Save" (at the bottom right of the Inspector window).
My settings were for PAL, but the same settings should apply to NTSC minus frame rate and frame size differences. The key changes that I made were the number of encoding passes (I changed 2-pass to 1-pass) and the bit rate (the average bit rate and the maximum bit rate were increased). Also, I was encoding from DV source which has the same picture dimensions at its MPEG2 counterpart so there was no need to change the width and height.
After you've made your custom preset, encode a short test file and send it to the broadcaster to see if it's compliant with what they can broadcast before committing an entire program to it.
-Warren
Name: MPEG-2 6.2Mbps 1-pass Custom
Description: Custom settings based on screen shot provided by client.
File Extension: m2v
Estimated size: 9 GB/hour of source
Type: MPEG-2 video elementary stream
Usage:generic
Video Encoder
Format: M2V
Width and Height: Automatic
Pixel aspect ratio: Default
Crop: None
Padding: None
Frame rate: (100% of source)
Frame Controls: Automatically selected: Off
Start timecode from source
Aspect ratio: 4:3
Field dominance: Automatic
Average bit rate: 20 (Mbps)
1 Pass VBR enabled
Maximum bit rate: 23.5 (Mbps)
Best motion estimation
Closed GOP Size: 1/2 second, Structure: IBBP

Jitter / Judder / degraded image quality on HD to SD downres for broadcast

I work for Australian television and am having jitter/judder issues when HD detail (in my case 1080p25 XDCAM EX) is downresed to SD (DVCPRO50i50) for broadcast.
From the Final Cut Pro 6.0.5 XDCAM sequence I choose Export Quicktime Movie and set it to PAL DV50.
(I don't use Compressor in this step because it consistently throws away about 5% of the pixels on the left and right edges of the image...bizarre!)
At our TV station they play my Quicktime DV50 out to DVCPRO50 tape from FCP without rendering.
I also encode a preview DVD from the same DV50 Quicktime file.
The DV50 Quicktime movie, the tape playout, AND the DVD ALL show a noticeable degree of jitter in fine detail when viewed on broadcast interlace monitors. But it scraped through tech checks.
It's when it's broadcast that it suddenly becomes terrible (I suspect these issues are probably amplified by the compression levels of digital TV here in Australia!)
I'll post a still which I screen captured from the digital broadcast yesterday.
You can see the loss of quality on anything that was sharp - eg. the nearest French Horn and the caption credit.
Detail on both dances like crazy when the film plays on my LCD monitor!
If anybody has any suggestions, please do let me know, as I can't find any other posts on downres issues.
Thanks!
Adam

Adam Sebire wrote:
I'd like to believe FCP is actually sophisticated enough to deliver broadcast-quality results on its own, 6 versions down the track!
FCP can and does produce broadcast quality video on a daily basis all over the world. Your problem is unique to your situation and not indicative of FCP's overall capabilities.
In my opinion the DV codec is not broadcast quality despite the fact that it's often used as such. It's a horrible codec with regards to fine detail, thin edges and graphics in general. Standard def as a format is not kind to thin font types either since there are only 480 horizontal lines of resolution compared to 1080 lines in HD.
Compressor does a better job of downrezzing than FCP because of the fine detail controls it has. It's part of the suite for that reason just like Motion is used for complex compositing even though you can composite in FCP. If you're having a problem with encodes in Compressor, I think THAT might actually be your real problem. You should try googling a program called Compressor Repair. It may be able to help.
If you're determined to stay in FCP, you should try nesting into an Uncompressed 8-bit sequence instead of DV. The Uncompressed codec has a much better chance of handling the fine detail in your HD signal than the DV codec does.
Andy

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

Exporting for Flash

I'm trying to export a motion graphic for Flash, but when I export as Lossless + Alpha Channel, I still get a black background behind my graphic that prevents me from compositing it in Flash. However, the same .mov that I exported composites without any problems in Shake... anyone know how I can get this to work correctly (in Flash)?

I have a hunch that this is a Flash issue, more than a Motion issue. Flash is not likely to support alpha channels in video, as it converts video to FLV anyway.

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.

Motion Export for Broadcast

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