Program delivery question

[Svein Rune Skilnand]

Hi.
I am using Premiere 6.0 on the latest 27" iMAC. I am not primarily an editor hence my reason for asking. The broadcasters in Norway have a 50 mbps recording demand for long form programs in the MXF format.

I am considering a Sony F3 and it`s images completely blow me away. I would also be able to use my current Sony SxS 64GB cards after having sold my EX1Rs. However as this is recording to a 35 mbps format, which I have to say looks really, really good what would happen when exporting to the MXF format? Does the 15 mbps difference really matter as long as the codec is as good as it is?

I know I could use an external recorder but that is another box to drag along. Hope someone with some knowledge or experience could chime in.

On a side note. They were just airing a show that was shot with the PMW-200 and Sony FS700 and I must say the images looked really nice. They were flashing their cameras all over the place so the broadcaster would have had to see what cameras they were using. As far as I know the FS700 does not have the MXF format? Anyway it is a show of 9 programs at 45 mins each. Just made me wonder how strict they really are of it the codecs of today are so good it does not matter any more. Are we just caught up in the latest and greatest?
Thanks.

[Andrew Smith]

The PMW-200 and 300 will record to the 50Mbit/sec data rate and hence will meet the high EBU standards for long form documentary.

Andrew

[Christopher Young]

Svein ~

Australian networks have basically the same sort of requirement for a lot of lifestyle, sport and entertainment programs, 50-mbit MXF. We usually deliver on Sony dual layer XDCam discs.

I will tell you now though that we have delivered numerous TV series over a number of years that were all shot on 35-mbit 4:2:0 cameras, edited in 35-mbit 4:2:0 but then rendered out as 50-mbit 4:2:2 masters. To date not one broadcaster had a complaint. In fact some have even commented how happy they are with the pictures. If the editing software you use doesn’t transcode your footage and you are actually editing in the native 35-mbit MXF format there is minimal re-encoding so the 35-mbit material stands up pretty well. If the client insists on 50-mbit acquisition then we use the Nanoflash in MXF mode.

I can understand network concerns because the lower the bit rate and the more steps it goes through can introduce ‘concatenation’ a degradation from bit rate and color space conversion that can introduce vision artefacts through each step of the chain. Whilst it may look ok to you it can cause problems when it comes to transmission.

Not sure what your transmission standards are in Norway but here in Australia most of our HD transmission system is 1440 x 1080 4:2:0 bar one network in one state that is 1920 x 1080 4:2:0 based with bit rates varying from 13 to 15-mbit. I have recorded off air programs that we have shot and edited that used both 35-mbit 4:2:0 and 50-mbit 4:2:2 original camera footage and am very hard pushed to see any difference.

Bit of a PDF primer on 4:2:0 concatenation: Sorry PDF failed to upload??

Chris Young
CYV Productions
Sydney

[Svein Rune Skilnand]

Thanks.
I am convinced enough to buy the F3. I actually can`t tell the difference either, and if they do insist down the line I will record to an Atomos recorder.

There is a bit of difference in broadcast signals here. Some networks transmit 1920x1080i and the major network broadcasts at 720p50 all though they do record some programs at 1920x1080p25 with the C300.

Australia is a fantastic continent by the way. I travelled there for six months and truly enjoyed your beautiful country. Although a bit hot in Darwin...bought a car in Sydney and hit the road. You are aware you are driving on the wrong side, right?

[Andrew Smith]

Most of the time Darwin has electricity, too. :-D

Darwin blackout closes schools and shuts down public service, cuts power to homes and businesses - ABC News (Australian Broadcasting Corporation)

Darwin in the grip of massive power blackout

Andrew