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For Production and Post-Production Most Significant Problems to Avoid

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For Production and Post-Production Most Significant Problems to Avoid TECHNICAL GUIDELINES FOR PRODUCTION AND POST-PRODUCTION MOST SIGNIFICANT PROBLEMS TO AVOID ................................................................. 3 FRAME RATE REFERENCE GUIDE ................................................................................... 4 BASIC GUIDELINES FOR FILMING / FIELD PRODUCTION .................................. 6 - 7 A. FRAME RATE APPROVAL ............................................................................................ 6 B. NO MIXING OF FRAME RATES .................................................................................. 6 C. JUDDER, SLOW MOTION AND HIGH SPEED ACQUISITION ................................. 6 D. SHUTTER SPEED AND POWER GRID INTERFERENCE ............................................. 7 E. HIGH QUALITY EQUIPMENT AND PERSONNEL ....................................................... 7 BASIC GUIDELINES FOR EDITING / POST-PRODUCTION ................................. 8 - 12 CONTENTS F. FRAME RATES ............................................................................................................. 8 G. CONFORMING AND CONVERSIONS ...................................................................... 8 H. DE-INTERLACING ....................................................................................................... 9 I. SLOW MOTION AND SPEED CHANGES .................................................................. 9 J. JUDDER ..................................................................................................................... 10 K. QUALITY REQUIREMENTS FOR PRE-EXISTING MATERIAL .................................... 11 L. USE OF MATERIAL FROM THE RED BULL CONTENT POOL ................................... 11 M. TRACK ASSIGNMENT FOR OBSERVATIONAL DIALOG ......................................... 12 ASPECT RATIOS ............................................................................................................... 13 GENERAL DELIVERY NOTES ........................................................................................... 13 TECHNICAL GUIDELINES FOR PRODUCTION AND POST-PRODUCTION MOST SIGNIFICANT PROBLEMS TO AVOID A dropped and/or duplicated frames (freeze frames) F luminance and chrominance values in excess of RBMH specifications due to improper mixing of source frame rates (which are identical to the recommendations of EBU R103-2000) B dropped and/or duplicated frames (freeze frames) G graphics and titles outside of title safe limits due to improperly executed speed changes and speed ramps H audio out of sync with picture C compression artifacts such as pixelation and macroblocking, de-interlacing artifacts, aliasing and other image quality issues due to the use of lower audio issues due to low quality recording equipment and/or lack of quality cameras such as DSLRs or smartphones, or low quality archival / I qualified audio personnel on set/location standard definition footage (up to 10 percent of a finished program, in segments of one minute or less each, may consist of material generated with lower quality equipment, assuming that no serious additional quality J poorly balanced and/or poorly leveled audio mixing issues are present in the material) K average audio signal gain exceeding the target peak level of -8dBTP D flicker/interference caused by shooting with 50 Hertz-based cameras under (current requirements) or -9dBFS (legacy requirements), frequently 60 Hertz-based lights (or vice versa) without proper shutter adjustments followed by the excessive application of audio limiting effects E judder (edge flicker) due to excessive pan and tilt speeds when shooting in L incorrect audio channel mapping lower frame rate formats, when speeding up certain slow-motion sources to natural speed without sufficient motion blur compensation, or due to rolling of stereo sources as mono titles / end credits that are exceeding appropriate roll speed / pixel advance M accidental panning values, especially in lower frame rate formats 3 TECHNICAL GUIDELINES FOR PRODUCTION AND POST-PRODUCTION FRAME RATE REFERENCE GUIDE a) global format for Blu-ray and DVD releases b) global format for theatrical releases (when conformed to 24.00 fps) + c) ‘Film Look’ 23.98 PROGRESSIVE d) can be sped up to 25 fps for RBMH format compliance and for TV broadcast in Europe and other 50 Hz regions without any loss in image quality a) less suitable for fast moving action due to low tolerance for judder, requiring slower panning and tilting speeds b) less suitable for handheld camera work – c) conforming to 25 fps will alter TRT a) ‘Film Look’ b) can be conformed (slowed down) to 23.98 / 24.00 fps for global Bluray, DVD or theatrical release without any loss in image quality + c) suitable for European / 50 Hz region TV broadcast PROGRESSIVE a) less suitable for fast moving action due to low tolerance for judder, requiring slower panning and tilting speeds 25 b) less suitable for handheld camera work c) might suffer significant quality loss when converted for TV broadcast in North America and other 60 Hz countries/regions – d) requires audio pitch correction when conformed to 23.98 fps e) conforming to 23.98 fps will alter TRT a) native format for European / 50 Hz regions TV broadcast b) can be converted without major loss in image quality and without change in TRT for TV broadcast in North America and other 60 Hz countries/regions + c) well-suited for handheld camera work and fast-moving action INTERLACED 25 a) requires high-quality deinterlacing for digital distribution b) ‘TV look’ – c) might suffer significant loss in image quality when converted for use in progressive 29.97 fps programs 4 TECHNICAL GUIDELINES FOR PRODUCTION AND POST-PRODUCTION FRAME RATE REFERENCE GUIDE a) offers good compromise between ‘film look’ and need for capturing fast-moving action and faster camera movements b) better suited for handheld camera work compared to slower progressive frame rates + c) suitable for North American / 60 Hz regions TV broadcast 29.98 PROGRESSIVE – might suffer significant loss in image quality when converted for use in progressive 25 fps programs. a) native format for North American / 60 Hz regions TV broadcast b) can be converted without major loss in image quality and without change in TRT for TV broadcast in Europe and other 50 Hz countries/regions + c) well-suited for handheld camera work and fast-moving action INTERLACED 29.98 a) requires high-quality deinterlacing for digital distribution b) ‘TV look’ – c) might suffer significant loss in image quality when converted for use in progressive 25 fps programs a) native format for European / 50 Hz regions TV broadcast (at 1280x720 pixel resolution) b) can be converted without major loss in image quality and without change in TRT for TV broadcast in North America and other 60 Hz countries/regions + c) well-suited for handheld camera work and fast-moving action 50 PROGRESSIVE a) ‘TV look’ – b) might suffer significant loss in image quality when converted for use in progressive 29.97 fps programs a) native format for North American / 60 Hz regions TV broadcast (at 1280x720 pixel resolution) b) can be converted without major loss in image quality and without change in TRT for TV broadcast in Europe and other 50 Hz countries/regions + c) well-suited for handheld camera work and fast-moving action 59.94 PROGRESSIVE a) ‘TV look’ – b) might suffer significant loss in image quality when converted for use in progressive 25 fps programs 5 TECHNICAL GUIDELINES FOR PRODUCTION AND POST-PRODUCTION BASIC GUIDELINES FOR FILMING / FIELD PRODUCTION A. FRAME RATE APPROVAL C. JUDDER, SLOW MOTION AND HIGH SPEED ACQUISITION a) Do not begin shooting prior to receiving written approval of your acquisition and delivery frame rate from RBMH Quality Management. a) In order to minimize the risk of judder issues (please see a more detailed explanation of judder issues further below), try to avoid shooting natural b) If you already know that you will be using substantial amounts of pre- speed scenes in high speed frame rates “just in case” (i.e., try to avoid existing footage, make sure to provide as much information as possible shooting footage in slow-motion if you are fairly certain that most, if not all about this footage (i.e., frame rate(s), frame size(s), scan type(s), legal of the scene will be sped up again to run at natural speed anyway). If you clearance potential) to RBMH Quality Management prior to the start of are planning to use scenes at natural speed, shoot them at natural speed, shooting to facilitate the determination of the frame rate that is best and set up slow-motion shots separately. suited to your project. b) Shoot dedicated slow motion sequences whenever possible. B. NO MIXING OF FRAME RATES c) If you are shooting in slow motion, make sure to stick to high speed frame rates that are full multiples of your base frame rate (i.e., if your base frame Don’t mix acquisition frame rates and, under most circumstances, rate is 25 fps, use 50/75/100/125/150/175/200/225 fps etc.; if your base don’t mix scan types. frame rate is 29.97 fps, use 60/90/120/150/180/210/240 fps etc.). 6 TECHNICAL GUIDELINES FOR PRODUCTION AND POST-PRODUCTION BASIC GUIDELINES FOR FILMING / FIELD PRODUCTION D. SHUTTER SPEED AND POWER GRID INTERFERENCE E. HIGH QUALITY EQUIPMENT AND PERSONNEL Make sure to adjust your shutter speed accordingly should you be shooting a) Avoid using low quality cameras unless they are serving a unique purpose under artificial light sources with conflicting frequency (i.e., when shooting in (such as POV
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