DOCSLIB.ORG

PDW-F75 XDCAM HD Professional Disc Recorder with Multiple Interfaces

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PDW-F75 XDCAM HD Professional Disc Recorder with Multiple Interfaces PDW-F75 XDCAM HD Professional Disc recorder with multiple interfaces Overview The PDW-F75 is designed to place XDCAM HD at the heart of any existing infrastructure - it can as easily be connected to a composite analogue world as a digital file-based workflow. At the touch of a button, the PDW-F75 can up or downconvert any input/output signal in real-time with complete transparency. It is as easy to plug in an entry- level DV camcorder as a top-of-the-range HDCAM VTR. The PDW-F75 features a comprehensive array of interfaces as standard. Using either the built-in LCD screen or a monitor, you have full access to all the benefits of the advanced XDCAM workflow with Scene Selection, Thumbnail operations and high-speed file-based editing. Enhanced Productivity No matter how you work, the PDW-F75 offers productivity improvements impossible with tape-based media: As soon as you insert a Professional Disc, the PDW-F75 will display a thumbnail index of each © 2004 - 2021 Sony Corporation. All rights reserved. 1 Reproduction in whole or in part without written permission is prohibited. Features and specifications are subject to change without notice. The values for mass and dimension are approximate. All trademarks are the property of their respective owners. recorded scene either on a monitor or the built-in LCD screen Any scene can be accessed instantly with no time-wasted due to fastforwarding/rewinding No need to worry about accidentally overwriting precious content 'Essence Marks' can be reviewed and edited to identify critical scenes Cut edit content on the deck itself - no need for a PC! Import proxy files onto your PC at high speed for faster browsing and editing Smart import only the full resolution content you require faster than real-time Up to four and a half hours recording at 18Mb/s MPEG HD, with Dual Layer Professional Discs Built-in high quality 16:9 colour screen SDI and HD-SDI output with audio embedded Digital Audio AES-EBU output TC IN/OUT Compatibility with today and tomorrow's workflow The PDW-F75 is built around support for existing standards such as DV/DVCAM and open standards like MXF so you've got the maximum flexibility to use it just the way you want. Stay with DV/DVCAM format to work with existing non-linear editors HD-SDI, SDI, i.Link, analogue video, analogue/digital audio interfaces for connectivity to a wide range of editing systems i.Link File Access Mode (FAM) interface for high- speed, file-based connectivity to a PC © 2004 - 2021 Sony Corporation. All rights reserved. 2 Reproduction in whole or in part without written permission is prohibited. Features and specifications are subject to change without notice. The values for mass and dimension are approximate. All trademarks are the property of their respective owners. Optional network interface for sharing content on a standard IT-based network i.LINK TS option for easy connectivity to HDV MXF open standard ensures maximum compatibility with new generation NLEs Long-term accessibility - storing content as files means you will always be able to access data in the future Smarter, Faster Archiving You don't need an expensive IT-storage system to revolutionise the way you store, retrieve and manage your archive material. While Professional Discs costs the same as tape, they're a true high-speed, non-linear media with a wealth of advanced meta-data automatically generated in camera. Import metadata and/or low resolution proxies onto your PC hard drive for a smart, searchable mirror of your high resolution archive Locate , watch and even edit proxy clips quickly using fast search of meta data, then instantly locate the archived high resolution content Non-linear media means faster, more reliable access to valuable archive content Professional Discs will retain information for 50 years in normal conditions Because information is stored as data files, there's no worries about video standards not being around in years to come Features This Sony professional deck has been designed to provide the very best features at the very best price - there's no need to © 2004 - 2021 Sony Corporation. All rights reserved. 3 Reproduction in whole or in part without written permission is prohibited. Features and specifications are subject to change without notice. The values for mass and dimension are approximate. All trademarks are the property of their respective owners. compromise on quality, functionality or results! Real-time SD output Even when recording in MPEG HD, the PDW-F75 outputs a real-time SD signal via SDI, i.LINK DV out and composite out, further enhancing versatility and operational compatibility (e.g. with monitors or recording equipment on location.) Quick and Slow Motion Support The PDW-F75 fully supports the Over/Undercranking feature of the PDW-F355 and will play back this content. HD 1080 Recording at Selectable Frame XDCAM HD products can record video signals in 1080/59.94i, 50i, 29.97P, 25P and native 23.98P - using a "MPEG HD" codec with industry standard MPEG-2 MP@HL compression. The user can also select the following bit rates High-quality Audio Recording XDCAM HD products can record two or four-channel, 16- bit, 48-kHz uncompressed (Linear PCM) audio - delivering high sound quality. File-based Disc Recording Because the XDCAM system records video and audio as IT-type files rather than a linear AV stream, XDCAM HD products offer a range of powerful benefits. Instant random access to content Automatic recording onto empty disc space (no need to worry about overwriting valuable content) Easy integration into other IT-based equipment such as Non-Linear Editing and © 2004 - 2021 Sony Corporation. All rights reserved. 4 Reproduction in whole or in part without written permission is prohibited. Features and specifications are subject to change without notice. The values for mass and dimension are approximate. All trademarks are the property of their respective owners. Archiving Systems Advanced network-based workflow via i.LINK FAM (File Access Mode) or Ethernet High Speed File Transfer. Advanced Scene Selection Functionality The PDW-F75's 16:9 colour LCD displays enables easy access to advanced XDCAM features. For example, a thumbnail display provides immediate access to detailed metadata or key scenes (selected automatically and/or manually) for quickly reviewing content on site. You can also perform simple cuts-only editing on the deck itself. Analogue-like Jog Audio One of the most popular features of Betacam SP decks was the top quality, analogue jog audio feature. This is almost exactly reproduced by the PDW-F75, which offers near-continuous slow-motion speed down to 1% steps. Noiseless slow-motion is variable from -1.0 to +1.0. High-quality Slow-motion Using the same interpolation filter technology as Digital Betacam, XDCAM HD decks offer stable and smooth picture quality during slow motion with minimal vertical jitter in both SD and HD. High Level of Reliability XDCAM HD decks share the same platform as the XDCAM SD products which have proven themselves in demanding applications all around the world. As there is no mechanical contact between media and recording heads, a high level of durability and long media life have been achieved. XDCAM products have also demonstrated exceptional resistance to shock, vibrations and extremes of climate. In addition, there is a 2 Year Silver Support pack supplied as standard. © 2004 - 2021 Sony Corporation. All rights reserved. 5 Reproduction in whole or in part without written permission is prohibited. Features and specifications are subject to change without notice. The values for mass and dimension are approximate. All trademarks are the property of their respective owners. Comprehensive interfaces The PDW-F75 features a wide-range of input-outputs and interfaces for maximum production flexibility. Inputs: HD-SDI, AES/EBU audio, analogue audio, timecode, reference Outputs: HD-SDI, Y/Pb/Pr, SD-SDI, RGB, SD analogue composite, AES/EBU audio, analog audio, timecode, XGA/VGA, audio monitor (L/R) i.LINK interface supports Additional features IR Remote Commander supplied Metadata recording: UMID, Extended UMID, Essence Marks Specifications General Power AC 100 V to 240 V, 50/60 Hz Requirements Power 70 W Consumption Operating 5°C to 40°C Temperature 42°F to 104°F Storage -20°C to +60°C Temperature -4°F to +140°F 20% to 90% (relative Humidity humidity) © 2004 - 2021 Sony Corporation. All rights reserved. 6 Reproduction in whole or in part without written permission is prohibited. Features and specifications are subject to change without notice. The values for mass and dimension are approximate. All trademarks are the property of their respective owners. Mass 7.2 kg 15 lb 6 oz 307 x 100 x 411 mm Dimensions (W x H (excluding protrusions) x D) *1 12 1/8 x 4 x 16 1/2 inches (excluding protrusions) MPEG HD: - HQ mode (VBR, maximum bit rate 35 Mbps) Recording/Playback - SP mode (CBR, 25 Mbps) Format (Video) - LP mode (VBR, maximum bit rate 18 Mbps) DVCAM *2 *3 (CBR, 25 Mbps) MPEG HD: 4 ch/16 bits/48 kHz Recording/Playback or 2 ch/16 bits/48 kHz Format (Audio) DVCAM: 4 ch/16 bits/48 kHz Recording/Playback Format (Proxy MPEG-4 Video) Recording/Playback Format (Proxy A-law (4 ch/8 bits/8 kHz) Audio) 35 Mbps, 4-ch audio: More than 145 min (PFD50DLA), More than 65 min (PFD23A) 35 Mbps, 2-ch audio: More than 150 min (PFD50DLA), More than 68 min (PFD23A) 25 Mbps, 4-ch audio: Approx. 190 min (PFD50DLA), Approx. Recording/Playback 85 min (PFD23A) Time (MPEG HD) 25 Mbps, 2-ch audio: Approx.
Load more

Recommended publications
  • Technical Specifications for Broadcast Program Material August 2018
    Technical Specifications for Broadcast Program Material August 2018 Delivery Specifications: Fox Networks broadcast exclusively in 1280 x 720/59.94. All material shall be delivered per SMPTE ST 296:2012 with 5.1 digital sound per ITU--R BS 775--3 (08/2012) Loudness specifications per ATSC RP/A85 (Doc. A/85 12 March 2013) Programming that does not meet this specification is subject to rejection and correction at the supplier’s expense File Delivery: Fox Networks only accepts MXF file delivery standardized in SMPTE ST 377--1:2011 The file name shall match the on air traffic I.D. SD file delivery requires prior authorization Stereo, 2--channel and monophonic deliveries require prior authorization File Format Specifications: Files shall be wrapped in MXF per SMPTE ST 378:2004, OP1a Segments within the file shall be separated by a minimum of 2 seconds black MXF files shall have one MPEG--2 video stream per ISO/IEC 13818--2:2013 MPEG--2 video essence shall be 1280 x 720/59.94, 4:2:2 profile @ high level, and 50Mbps 5.1 digital surround shall be in phase Channel Channel 1: Left 2: Right 3: Center 4: LFE‐‐‐Low Frequency Enhancement 5: Left surround 6: Right surround 7: DVS, SAP or Mono 8: Mono 9‐‐‐12: (n/a or not used) MXF files shall have 8 audio PCM 16 (16 bits @ 48 kHz PCM) or 8 audio PCM 24 (24 bits @ 48 kHz PCM) channels per SMPTE ST 377--4:2012 Dolby E is not accepted Programming shall be created such that any down mix from 5.1 to stereo or mono represents the original mix 1 Technical Specifications For Broadcast Program Material August 2018 The dynamic range of the material shall be suitable for television broadcast The loudness shall be measured across all channels, except LFE (Low--Frequency Enhancement) in units of LKFS per ATSC RP/A85 (Doc.
    [Show full text]
  • MXF Application Specification for Archiving and Preservation
    AS-AP MXF Archive and Preservation DRAFT FADGI Application Specification AS-AP MXF Archive and Preservation August 15, 2011 (rev 1h) Document Status This document-in-progress is being drafted by the Audio-Visual Working Group of the Federal Agencies Digitization Guidelines Initiative (FADGI; http://www.digitizationguidelines.gov/audio-visual/). The Working Group will transmit a refined version of this MXF Application Specification for Archive and Preservation (AS-AP) for finalization and publication by the Advanced Media Workflow Association (AMWA). Finalization will also depend upon the resolution of some technical matters that are dependencies for this specification. These dependencies are highlighted in the explanatory notes within this specification and in the accompanying document Preservation Video File Format Issues and Considerations (http://www.digitizationguidelines.gov/audio-visual/documents/FADGI_MXF_ASAP_Issues_20110815.pdf). This document has been drafted in the style of other AMWA application specifications (http://www.amwa.tv/projects/application_specifications.shtml), has borrowed a number of features from AS- 03, and refers to AS-02. Since AS-02 has not been published at this writing, this document (especially Annex B) includes wording copied from draft versions of that specification. Executive Summary This document describes a vendor-neutral subset of the MXF file format to use for long-term archiving and preservation of moving image content and associated materials including audio, captions and metadata. Archive and Preservation and files (AS-AP files) may contain a single item, or an entire series of items. Various configurations of sets of AS-AP files are discussed in the Overview. AS-AP files are intended to be used in combination with external finding aids or catalog records.
    [Show full text]
  • Avid Filmscribe User's Guide
    Avid® FilmScribe™ User’s Guide ™ make manage move | media Avid ® Copyright and Disclaimer Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement. Avid products or portions thereof are protected by one or more of the following United States Patents: 4,746,994; 4,970,663; 5,045,940; 5,077,604; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,583,496; 5,584,006; 5,627,765; 5,634,020; 5,640,601; 5,644,364; 5,654,737; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,180; 5,754,851; 5,799,150; 5,812,216; 5,828,678; 5,842,014; 5,852,435; 6,061,758; 6,532,043; 6,546,190; 6,636,869; 6,747,705.
    [Show full text]
  • Eidr 2.6 Data Fields Reference
    EIDR 2.6 DATA FIELDS REFERENCE Table of Contents 1 INTRODUCTION ............................................................................................................................................... 5 1.1 Introduction to Content ................................................................................................................................ 5 1.2 Composite Details ......................................................................................................................................... 5 1.3 How to read the Tables ................................................................................................................................. 6 1.4 EIDR IDs ........................................................................................................................................................ 7 2 BASE OBJECT TYPE ......................................................................................................................................... 9 2.1 Summary ...................................................................................................................................................... 9 2.2 Referent Type Details ................................................................................................................................. 25 2.3 Title Details ................................................................................................................................................ 26 2.4 Language Code Details ...............................................................................................................................
    [Show full text]
  • Vcube User Manual
    Table of Contents Table of Contents Welcome 1 What's New in VCube 2? 2 VCube Overview 5 How to Update 6 VCube User Interface 7 Tool and Transport Bars 11 Tool Bar 12 Transport Bar 16 Quick Settings for SD and HD Video Formats 19 Quick Settings for SD 21 Quick Settings for HD 23 Control Pages 25 Files 26 VCube Compositions 29 OMF Compositions 32 AAF and Apple XML Compositions 34 Media Files 36 Import Composition and Export Changes 38 Import Layer 39 Convert Still Images 40 Locators 42 View 44 Clips Information 45 Shortcuts 49 Workspace 50 ii Table of Contents Edit 52 Main 53 Clips 54 Layers 56 Tracks 58 Settings 59 Presets 60 Formats & Synchro 62 Video I/O 67 Xena LS Plug-in 68 Xena LH Plug-in 70 Xena 2 Plug-in 72 Overlay 74 Preview 76 Composition 78 Disk & Network Cache Buffers 81 User Interface 82 Isis 83 Encryption 84 Media Settings 90 Timeline 91 Video Engine 92 Output View 93 Script View 95 Recording and Editing 96 Recording 97 Editing 103 Timeline 104 Editing Functions 106 Layer Controls 110 iii Table of Contents Motion Rectangles (PiP) 111 Selections and Groups 114 Watermark and Text 115 Watermark 116 Text Clip 117 Utility Clips 119 Countdown Clip 120 Wipe Clip 122 Video Test Patern Clip 123 Audio Tone Clip 124 Conforming and Reconforming 125 Conversions 134 Export 135 Convert Media Files 136 Render 140 Import Images Sequence 144 Media Wrapper 146 Frame Rate Management 147 Using the QuickTime File Format 148 Using the MXF File Format 150 Using the MPEG Codec 151 Basic Settings 153 Video Settings 154 Advanced Video Settings 157 Audio Settings 164 Multiplexer Settings 167 Synchronization 171 Connections for synchronization 174 iv Table of Contents The USB Sync Board Oprtion 175 USB Sync Board Installation 176 Specific Control Panels 177 Virtual Transport 180 Network 183 VCube Chasing Pyramix through Virtual Transport.
    [Show full text]
  • Research & Development White Paper
    Research & Development White Paper WHP 297 July 2015 Media Synchronisation in the IP Studio Robert Wadge BRITISH BROADCASTING CORPORATION White Paper WHP 297 Media Synchronisation in the IP Studio Robert Wadge Abstract Television production and broadcast facilities currently use specialised point-to- point unidirectional links to transport real-time video and audio synchronously around the plant. Broadcast industry interest in replacing this specialised infrastructure with an Internet Protocol based solution has been gathering pace in recent times, driven by economic and technical considerations. IP networks offer a bidirectional layered communications model. Data is moved across the network in packets. Moving audio and video over an IP network involves splitting the signals into packets, separating the data from its timing signal. This is a fundamentally different paradigm to the prevailing synchronous technology, which requires a fresh approach to timing and synchronisation in particular. This paper proposes an approach to timing and synchronisation of real-time video and audio by modelling these signals as a series of Events to which timestamps sampled from a high-resolution clock are bound. The clock is distributed to all devices using IEEE 1588 Precision Time Protocol (PTP). Events can be periodic or aperiodic within a series, comprising raw or compressed audio or video, or any other arbitrary time-related data. While certain aspects of this approach are novel, the principles on which it is based draw heavily on recent work in SMPTE and AES concerning timing and synchronisation in networked environments. Additional key words: Genlock, Timecode, SDI, RTP, Media Identity, Media Timing White Papers are distributed freely on request.
    [Show full text]
  • Smpte/Ebu Time Code Products & Accessories
    SMPTE/EBU TIME CODE PRODUCTS & ACCESSORIES READERS INSERTERS CONVERTERS COMPARATORS GENERATORS DISTRIBUTION AMPLIFIERS Since the beginning of the “Video Era”, SMPTE Time Code has been one of the most valuable tools used in video editing. And, since the early 1970’s, ESE has been manufacturing SMPTE Time Code tools. ESE’s diverse line of SMPTE equipment includes Readers, Generators, Inserters, Converters and Comparators. Combination units such as the ES-488U allow the user to read, insert and generate... all with a single unit. Also, ESE can translate between SMPTE and other codes. Some examples are SMPTE to/from ESE or ASCII and IRIG-B to SMPTE. Applications Features • Schools & Distant Learning Centers GPS Traceability • • Government & Military Installations Easily Expanded • • Tele-Conferencing Centers “On-Frame” Precision • • Post Production Houses Bi-Directional / Multi-Speed • • Broadcast Facilities Digital, Analog & Video Displays • • Recording Studios HD & SD SDI Time Code Products • SMPTE/EBU, NTP, IRIG-B, ESE, & ASCII Time Code Outputs • 142 SIERRA ST., EL SEGUNDO, CA 90245 (310)322-2136 FAX (310)322-8127 www.ESE-WEB.com INTRODUCTION BACKGROUND Founded in 1971, ESE’s first products consisted of a line of Digital Clocks and Timers designed specifically to meet the needs of the broadcast and medical industries. In the mid-’70s ESE introduced two Master Clocks, one of which referenced a one second per month crystal time base, and the other WWV (NBS/NIST). These products widened the market of the ESE product lines to include school systems, 9-1-1 dispatch centers and military installations. Later in the ’70s the ES-251 was introduced, our first SMPTE Time Code Product.
    [Show full text]
  • User's Manual, Please Do Not Hesitate to Contact Us
    A/V Binloop HD User’s Manual Document Revision 2.0 November 13, 2020 Copyright Ó 2020 Alcorn McBride, Inc. All rights reserved. Every effort has been made to assure the accuracy of the information contained in this manual, and the reliability of the Alcorn McBride A/V Binloop HD hardware and software. Errors can sometimes go undetected, however. If you find one, please bring it to our attention so that we can correct it for others. Alcorn McBride welcomes comments and suggestions on the content and layout of its documentation. Applications described herein are for illustrative purposes only. Alcorn McBride Inc. assumes no responsibility or liability for the use of these products, and makes no representation or warranty that the use of these products for specific applications will be suitable without further testing or modification. Alcorn McBride products are not intended for use in applications where a malfunction can reasonably be expected to result in personal injury. Customers using or selling Alcorn McBride products for use in such applications do so at their own risk, and agree to fully indemnify Alcorn McBride for any damages resulting from such improper use or sale. Alcorn McBride Inc. reserves the right to make changes to these products, without notice, in order to improve their design or performance. A/V Binloop HD™ is a trademark of Alcorn McBride Inc., all rights reserved. Dante is a trademark of Audinate, Inc. Hardware Design: Jim Carstensen, Scott Harkless, Joy Burke, and Dmitri Kisten Firmware Design: Jim Carstensen, Scott Harkless, and Dmitri Kisten Software Design: Adam Rosenberg and Diego Reano Documentation: Jim Carstensen, Scott Harkless, John Conley, Kevin Lang, Adam Rosenberg and Dmitri Kisten Mechanical Design: Martin Chaney and Gerry Calixto, Jr.
    [Show full text]
  • Splicedirector Vincenzo Natali
    www.StudentFilmmakers.com Workshops | Forums | Network| Showcase | Tech Focus 2010, Vol. 5, No. 2 The #1 Educational Resource for Film and Video Makers US$5.95 Full HD 3D Camcorder 3D CGI Story Plans HDSLR Filmmaking ßStill and Motion Imaging Collide ßAudio Solutions PLUS 4Close-up Lenses Exclusive Interview 4Oliver Curtis, BSC on Camera Moves 4Vertical Screen Challenge Director Vincenzo Natali 4Short Documentary Editing Splice 4SMPTE Timecode in Sound Recording Directing and Writing for Science Fiction and Fantasy TIFFEN_STEADICAM_STUDENTFILM_OL.ai 1 8/28/09 5:43 PM Please visit us at NAB 2010 Booth Number C8818 Table of Contents 2010, Vol. 5, No. 2 3D Filmmaking 6 23 Things 3D CGI Does Really Well To Plan Your Story Around by Sherri Sheridan 9 New AG-3DA1 Integrated Full HD 3D Camcorder Preview Cinematography 10 Focus on: Close-up Lenses by Ira Tiffen 12 Permanent Exhibit, Large Screens and a Vertical Challenge by Carl Filoreto Close Up 16 Exclusive Interview with Award-Winning “Splice” Director Vincenzo Natali 12 20 A Conversation with Oliver Curtis, BSC DSLR Filmmaking 26 The Two Worlds of Still and Motion Imaging Collide 16 by Jon Firestone 34 HDSLR Audio: Challenges and Solutions by David Kaminski, with Eric Perez C M Formats Y 36 Where Does Film Stand? by William Donaruma CM HD Production MY 40 A Look Back at One of the First Creative Uses of an CY Experimental Version of Hi Def by Myrl A. Schreibman CMY 42 Tell an Authentic Story and Shoot It with Great Heart by Dean Yamada K Directing 46 The New Paradigm by David Worth Editing 48 Short Form Documentary Editing: The Map by Melissa Ulto Music & Sound 50 The Use of SMPTE Timecode in Conjunction with Audio 20 Recorders by Fred Ginsburg, C.A.S., Ph.D., MBKS 54 Micro Foley by Bryant Falk 55 Call for Entries 55 On Campus 56 Featured Products, Services, and Events 60 Global Marketplace 62 Filmmakers Networking On the Cover Tim Hardy (left) and Jason Anderson (right) doing a Canon 7D and RED comparison test at Asgard Entertainment.
    [Show full text]
  • Common Metadata Ref: TR-META-CM Version: 2.7 DRAFT DRAFT Date: September 23,2018
    Common Metadata Ref: TR-META-CM Version: 2.7 DRAFT DRAFT Date: September 23,2018 Common Metadata ‘md’ namespace Motion Picture Laboratories, Inc. i Common Metadata Ref: TR-META-CM Version: 2.7 DRAFT DRAFT Date: September 23,2018 CONTENTS 1 Introduction .............................................................................................................. 1 1.1 Overview of Common Metadata ....................................................................... 1 1.2 Document Organization .................................................................................... 1 1.3 Document Notation and Conventions ............................................................... 2 1.3.1 XML Conventions ...................................................................................... 2 1.3.2 General Notes ........................................................................................... 3 1.4 Normative References ...................................................................................... 4 1.5 Informative References..................................................................................... 7 1.6 Best Practices for Maximum Compatibility ........................................................ 8 2 Identifiers ............................................................................................................... 10 2.1 Identifier Structure .......................................................................................... 10 2.1.1 ID Simple Types .....................................................................................
    [Show full text]
  • DPP Technical Delivery Standards
    TECHNICAL STANDARDS FOR DELIVERY OF TELEVISION PROGRAMMES TO This document is a complete guide to the common technical standards agreed by the BBC, BTSport, Channel 4, Channel 5, ITV, Sky, S4C and TG4. The first three pages of this document outline parts of the specification that are unique to TG4. The main body of the document outlines the main DPP specification as adopted by all members. The Standards include: Technical Specifications, i.e. the technical production methods which must be used, and the parameters which all material must meet to be acceptable by the broadcasters. Picture and Sound Quality requirements, which also form a binding obligation on producers of material. Assessment of quality is by nature subjective, and is highly dependent on the nature of the programme. Some of the Quality Requirements are expressed in relative terms (“reasonable”, “not excessive” etc), and it will be necessary to make a judgement as to whether the quality expectations of the intended audience will be fulfilled, and whether the broadcaster will feel that value for money has been achieved. Delivery Requirements, which specify the form and layout of the programme material. Every programme submitted for transmission must satisfy a Quality Control process specified by the Broadcaster. Any programme failing the QC process on tape or file may be rejected and returned to the supplier for repair. Please ensure you are using the current version of this document, available at: http://www.tg4.ie/en/production/guidelines.html Technical Responsibility and Contacts TG4 is required to ensure that for all broadcast programmes technical quality is maintained to a satisfactory standard.
    [Show full text]
  • Technical Standards for Delivery of Television Programmes To
    TECHNICAL STANDARDS FOR DELIVERY OF TELEVISION PROGRAMMES TO This document is based on the guide to the common technical standards agreed by the BBC, BSkyB, Channel 4, Channel 5, ITV and S4C. The Standards include: Technical Specifications, i.e. the technical production methods which must be used, and the parameters which all material must meet to be acceptable by BSkyB. Picture and Sound Quality requirements, which also form a binding obligation on producers of material. Assessment of quality is by nature subjective, and is highly dependent on the nature of the programme. Some of the Quality Requirements are expressed in relative terms (“reasonable”, “not excessive” etc.), and it will be necessary to make a judgement as to whether the quality expectations of the intended audience will be fulfilled, and whether BSkyB will feel that value for money has been achieved. Delivery Requirements, which specify the form and layout of the programme material. Every programme submitted for transmission must satisfy a Quality Control process specified by BSkyB. Any programme failing the QC process on tape or file may be rejected and returned to the supplier for repair. Please ensure you are using the current version of this document, available at: http://sky1.sky.com/production-team Technical Responsibility and Contacts: All contact regarding queries about program content, or of a technical nature, should be directed through the Media Coordinators. Media Coordinators will then direct the query to the relevant area within BSkyB. BSkyB Contact Details Area Media Coordinators E-mail [email protected] Phone +44 (0)20-7032 2263 File Naming Requirements Programme files for delivery to BSkyB must be named as requested with the Delivery ID.
    [Show full text]