Logo Logo
/// 
Premiere Pro 1.5: Anforderung für einen Werbespot im Fernsehen

Premiere Pro 1.5: Request for a TV commercial



Frage von ††Astaroth††:
April 2006

Good day

I was asked (or had caught me the job) shoot a commercial for a small Swiss TV channel. Help me I have a Canon XL1 available that record to mini DV. And to me, it was confirmed that the network mini-DV accepted. I give the mini-DV via FireWire So on my PC and edit with Premiere Pro 1.5.
From the transmitter were sent me these format requirements:

http://homepage.hispeed.ch/fennekpage/sendefaehigeformate.pdf

My questions now:

1. Is it possible to screw me with Premiere Pro 1.5, the luminance and the chrominance to 100% down, if they are exceeded? Extends to the effect "for broadcast colors" or may it even more tricks? How do I see the maximum of 1 Vpp and 700 SVSS in Premiere Pro? As is shown in Premiere indeed in the entire IRE. (Is there a conversion?)
(And maybe by chance someone knows what the EBU standard N10? Google but I could not help)

2. When I am back after all the digital editing in Premiere on the tape send (again) via FireWire, then shows the car audio track 1 on the tape with the left and the track 2 with the right channel? And is included SMTPE car a time code or must be spoken of in retrospect even with special hardware?

3. If the color bars (including the sine tone) of sufficiently premiere and in the right shape so that it can be used later by the sender to adjust or should I rather create here in the bar afterwards with additional hardware?

Hope you can help me with the many questions;)
Thank you in advance in advance!

Sincerely me
Astaroth



Antwort von prem:

Astaroth Hi!
So once I roll back on the field of views:
to point 3: The color bars should be enough. my suggestion:
09:58:59:24 - 09:59:30:00 color bars + tone 1kHz (-9dB Full Scale)
09:59:30:00 - 10:00:00:00 Black (Black, Mute)
10:00:00:00 - 10: xx: xx: xx PGM
10: xx: xx: xx - 10: yy: yy: yy Black (minimum 2.Min.)

This list should be coded with the same Lum, chrome. worthy to be like the footage. (the VTR operator on TELE M1 will be grateful to you)

point 2: Most commercials are edited together into a block and the audio on gepegelt MIX. (Stereo at home) The time-brauchts code here just to copy it to DigiBeta and most dan-tape inserting, commercial break.

point 1: see link www.ebu.ch

I hope you could help ..

gruss vic



Antwort von ††Astaroth††:

Hey!

First of thanks for quick reply!
Then I begin to rear of synonymous;)

Item 3:
And as I sit the same way? So move the timeline in Premiere, so is probably not, I need to fix this, when played back in the camera or what?
And what exactly do you mean with?
Quote:
This list should be coded with the same Lum, chrome. worthy to be like the footage. (the VTR operator on TELE M1 will be grateful to you)


Item 2:
That means I must note on time-code and nothing to play with the premiere of edited material, just back to tape?

Point 1:
Thanks for the website, is very confusing, but maybe I'll find something;)
Has anyone else even tips for Point 1, in relation to dealing with premiere? Or do I need me regarding luminance and chrominance not to worry, because the sender zurückstaucht the eh, if they are too high?

Thanks for your help

Yours sincerely,
Astaroth









Antworten zu ähnlichen Fragen:
FX6 Commercial with AF BTS
New Thai Commercial Boss Da Market (sub eng)
Premiere Pro 2020 friert ständig ein während Premiere 2019 funktioniert?
Adobe - neue April Updates für Premiere Pro und Premiere Rush
ARRI TECH TALK Live: Commercial Lighting Basics
Taco Bell - Web of Fries - Movie Trailer - TV Commercial 2018
Mac Pro: Adobe Premiere Pro demnächst mit ProRes Beschleunigung per Afterburner
Premiere Pro auf MacBook Pro und eGPU KFA2 SNPR, GTX 1060
Blackmagic 6K Pro RAW Material in Premiere Pro importieren
Vergleich: MacBook Pro M1 Pro vs M1 Max im Performance-Test mit Resolve, Premiere und FCP
Messevideo: Neue Funktionen Adobe Premiere Pro u. bestes, verstecktes Pro-Feature // NAB 2018
Apple MacBook Pro 2018 im 4K Schnitt Performance Test: ARRI, RED, VariCam Material in FCPX, Premiere Pro und Resolve
Premiere Pro 12.0.1 update
adobe premiere pro 1.5
Adobe Premiere Pro
Premiere Pro zu langsam
Projektmanager Premiere Pro CS 6
Premiere Pro Maskenverfolgung
Premiere Pro: Maskenprobleme
Premiere Pro Problem
Premiere Pro CC 2018
Premiere Pro - Keyframes
Pluraleyes vs. Premiere Pro sync
Premiere Pro CC unerträglich langsam
Pixelfehler entfernen in Premiere Pro
Premiere Pro kein Ton

















weitere Themen:
Spezialthemen


16:9
AI
ARD
AVCHD
AVI
Adobe After Effects
Adobe Premiere Pro
After effects
Apple Final Cut Pro
Audio
Avid
Avid Media Composer
Cam
Camcorder
Camera
Canon
Capture
Capturing
Clip
EOS
Editing
Effect
Error
Export
File
Files
Film
Final Cut
Format
Formate
HDR
Import
JVC
KI
Layer
Light
MAGIX video deLuxe
Magix
Microphone
Monitor
Movie
PC
Panasonic
Pinnacle
Pinnacle Studio
Player
Premiere
RAM
RED
Recording
Red
Software
Sony
Sound
Studio
TV
Tape
Video
Videos