1. A GUIDE TO SMOOTHER DIGITAL
WORKFLOWS IN TELEVISION

2. 1 | PREFACE
PREFACE
In our industry we take huge creative risks all the We see this document as the starting point for such Our focus is upon helping to identify the smoothest,
time: that is what makes British television punch well collaboration – and an attempt both to provide it with simplest, shortest production journeys – while still
above its weight. When it comes to technical change, an agenda, and to make it feel more achievable. providing sufficient background information to help
however, we are more cautious. The adoption of new people maintain a view of the wider landscape. We
tools and workflows tends to happen slowly – unless the Why now? Over the course of half a century television appreciate that sometimes creative ambition, budget
community can see an instant benefit. Self-operated production processes became mature, well understood, or time-scale may mean that a production team may
file-based HD cameras are a good example: even and subject to limited variation. But the world of file- consciously opt to take a route that may not be the
though the move to file-based HD has created a number based production has changed all that. Programme smoothest – because the benefits make the bumps
of challenges in the production workflow, these cameras makers are now faced with the biggest change to worthwhile. But we’d like to think we can help you
have been rapidly adopted as the only means of making workflow in decades: the replacement of video tape ensure you spend no longer on the dirt roads than you
quality HD content within constrained budgets. by computer file. And it’s coming at a time when the have to: innovation should not have to mean irritation;
demand from broadcasters is also for the highest quality and lost clips, crashing edit systems, or expensive back
In other words, single technologies which deliver images ever, at the lowest ever prices. ups shouldn’t be the price paid for digital off-roading.
immediate creative benefits are adopted more easily
and quickly than end-to-end workflows – even if their At times like this, even the most experienced and The workflows we suggest may not suit everyone, and
impact on workflows is disruptive! intrepid creative explorer may find themselves in need even if they do, they are sure to change with time. They
of a map. And that’s what the Digital Production may seem too high level for some, and too detailed
In reality, the introduction of end-to-end workflow Partnership seeks here to provide: a guide to the file- for others. But our prime motive here is to provide a
changes could generate creative benefits which are just based production journey. But we don’t want merely to mechanism to get the industry – the entire industry
as dramatic as those that come from single technologies offer a map – we want to suggest some routes. There – to focus its efforts around the same goal: to enable
– for example by improving image quality, enabling are many ways to get from A to B in the file-based streamlined, efficient and effective workflows that will
greater use of new creative software tools, and releasing world; so it’s little wonder some producers are feeling put the technology in the background, put creativity at
more budget to spend on screen. But ‘end-to-end a bit lost – or are clinging to the one route they know, the fore, and keep UK production at the cutting edge.
workflow changes’ sound and feel unglamorous – and even though it may be tortuous and expensive.
require a degree of collaboration across the industry and
its suppliers that can seem daunting.

3. INTRODUCTION | 2
INTRODUCTION
In our previous report The Reluctant The continuation of tape cameras in television, long the outset, production companies now need to deal with
Revolution, the Digital Production after the consumer market began to go tapeless, is codecs (the audio-video file formats associated with
evidence of how resilient tape has been as a format. file-based shooting) and the staggering lack of
Partnership (DPP) highlighted how the
Even when the production process began to make compatibility between different vendors’ kit, codecs
use of file-based cameras was forcing greater and greater use of computers and IT, tape was and editing platforms.
new workflows on the television industry. still retained because it could always be returned to
In the past, tape was not just the medium when things went wrong. And in an industry that lives New phrases such as “metadata” and “data wranglers”
by the priceless moments it captures, that characteristic have emerged. These terms emphasise the fact that in a
of exchange but acted as the security had enormous value. file-based world it is vital to mark up and describe video
blanket for production: it was a robust footage. Content no longer physically exists on a shelf
medium for shooting; it could be easily But the advent of file-based cameras has changed all or desk. As a result, if the content is not described, it will
of that. The computer file has always seemed mercurial probably never be found. Is it any surprise that in the
carried and stored; it was always there
and mysterious by comparison with physical media. move from tape to tapeless the first thing Production has
as back up when non-linear editing And what’s more, this transformation in the capture had to do is ensure the security of its priceless moments?
platforms or electronic storage systems format of the cameras which give birth to our precious
crashed; and it also acted as the archive rushes has coincided with a quality/cost paradox: High It was against this backdrop that the DPP wanted to
Definition has become standard, while programme provide some clarity on how to adapt to end-to-end
format both for rushes and completed
budgets in some areas have declined. file-based workflows. We began by turning to our own
programmes at the end of production. members, and in a series of public forums and workshops
Whether the advent of newer and smaller HD file-based in the latter part of 2011 and early 2012, we tried to distil
cameras facilitated or was the product of this paradox effective working practices from the very practitioners
is a moot point. Put together one thing is clear: we are at the forefront of production. We have stopped short
now acquiring more, but in many cases less confidently of generating ‘best practice’ workflows as there is too
and for less money. And there is no way back: the much heterogeneity in the core production process for
manufacture of tape-cameras is discontinuing. that concept to be truly valid. We have set out instead to
provide some guidelines that highlight the challenges in
So, like it or not, the adoption of file-based cameras file-based production and identify and share the different
has brought with it a world of new workflows. From means currently used to address them.

4. 3 | THE BLOODLESS REVOLUTION
We see three potential outcomes from the publication In setting out the workflows, we were faced with a
of this report: challenge on the level of detail. Too high level, and the
workflows would be of little practical use, but too great a
1 In a world of transient production teams, with many level of detail would deter any serious adoption. We hope
freelancers, the industry will be given a set of common that we have found a middle ground, which is sufficiently
reference points. We hope these will help to generate a easy to follow and will allow production companies
commonly agreed language and framework within to provide their own greater level of detail on specific
which to approach the planning and execution of a file- aspects of the workflow.
based production.
2 Broadcast technology vendors and service providers will To help clarify the points we feel are particularly
be given an oversight of the entire production process, important to achieving smoother workflows, we have
together with an insight into the requirements and added the icon DPP Recommends at key moments.
concerns of the producer when operating in a file-based
world. We would hope this will lead to a clearer, and We have striven to focus on one core workflow as much
perhaps more open, dialogue – and a better mutual as possible. The overall process has been broken into four
understanding of the benefits and drivers in the process. steps: Planning, Rushes Management, Post-Production
and Delivery.
3 Vendors, the production community and service providers
may also use the workflows to identify opportunities to
create and deliver new services that will help to streamline
or enhance the production process.
The DPP encourages debate and feedback and our regular forum provides one such outlet for the industry to
come together and share experiences. If you would like to receive information on our forum events, or if you
want to provide feedback on this document, please email us on info@digitalproductionpartnership.co.uk .
For any press enquiries regarding this report, please contact mary@marycollins-pr.com .

5. INTRODUCTION | 4
THE WORKFLOW
PLANNING RUSHES MANAGEMENT POST-PRODUCTION DELIVERY
Conventions, Capture and
Delivery versions
shoot and post manage required Editing & Finishing
and network
workflow, and kit video and audio
PLANNING RUSHES MANAGEMENT POST-PRODUCTION DELIVERY
covers the workflow up to the point covers the capture and handling of covers the workflow from the ‘ingest’ covers the production of masters for
of shooting and sets out the different content on location or in a studio up of material into the edit for low or delivery to broadcasters, clients or
conventions and practices that need to the point of rushes archive and high resolution editing through to the audiences. This is an area where the DPP
to be adopted right at the start of management. completion of the master. has already produced a set of technical
the process. and metadata standards for file-based
delivery of completed programmes.
These can be found on:
www.digitalproductionpartnership.co.uk/
metadata_standards.html

6. It’s a cliché that planning is everything – and equally a cliché that
creative brilliance and meticulous planning are uneasy bedfellows.
But in end-to-end file-based workflows the planning stage becomes
more important than ever – and without it creativity may be seriously
compromised. Whoever found computer systems that don’t talk to each
other creatively liberating?
Not only is it the case that better planning upfront will make the
process easier for production, but broadcasters, studio facilities, and
even insurers, are increasingly now insisting on production companies
providing a workflow description upfront. It all comes back to the need
to rediscover the security apparently sacrificed in the move from tape.
Planning has two main elements to it: the first is the selection of the
kit to be used, and the second is decision making on actual workflows,
conventions and documentation of what is going to be shot.
PART 1
PLANNING

7. ITERATE
2
CAMERA
Select camera,
bitrate and
codec to use
ITERATE
3
7
BACK UP
CONVENTIONS
Select review and
1 back up tools, when 6 Identify clip
9
to back up and to
what medium numbering, card
labelling and
DOCUMENT conventions
SELECT KIT ITERATE WORKFLOWS COMMUNICATE
4
Select kit Select shoot and 8 Train/Inform
considering post workflow
team of
desirable based on
workflows ARCHIVE selected kit
decisions
Select media METADATA
management method:
MAM, database, Decide what
directory structure metadata is
or managed service to be captured
and how
ITERATE
5
EDITING TOOLS
Select editing
tools/suite

8. 7 | THE BLOODLESS REVOLUTION
1
SELECT KIT
The production community tend to think implications for everything that follows and
of kit rather than codecs or processes, and for the quality of the final product.
very often a production may implicitly
define a workflow based on the choice of As will become evident from this guide, the
camera. There are four main technology choice of a particular camera may create
aspects that need to either be defined or such issues further down the workflow
considered right at the start of the process: (depending on the requirements of the
choice of camera is seen as the most production) that the initial creative or oper-
important, followed by the method of ational benefits of the choice are negated.
archiving rushes, backing up of material on
shoots, and the editing tools to be used in
post-production. There is merit, in our view, in using
the planning process to look first at
When and how to review your rushes the smoothest possible workflow for
should also be taken into consideration. The the requirements of the production –
decision as to when is normally determined and then to ask which cameras (and
by the value of the rushes as well as the which camera settings) will ensure this
intensity of the shooting schedule and the smoothness can be maintained while
length and location of the shoot. still achieving the desired creative look.
The significance of camera kit selection Of course the conclusion might be that
is one of the unforeseen consequences for creative reasons, a team will still prefer
of the move to file-based production. to sacrifice some smoothness, but at least
The decision between tape and film that decision will be made knowingly, and
notwithstanding, the precise choice additional thought and planning can be
PLANNING of camera has never before had such put into the friction that may result.

9. PLANNING 8
2
CAMERA
WHICH CAMERA? This will mean the addition of further kit, file-based workflow, since content can be codec will need to be compatible with
The nature of the commission of course such as specialist external hard-drives. shot, delivered and archived on XDCAM both the needs of the production and
will be a key deciding factor in camera However, this has the benefit of forcing disc – much as it was with tape, using a the downstream editing platform and
choice, as certain types of production productions to make on-site back ups, similar workflow. delivery specification.
will require different types of camera e.g. which not only provides security but may
handheld or shoulder mounted, self-op or well be essential for insurance. WHICH CAMERA SETTINGS? It is worth noting that the European
professional. Some types of production, When setting up the camera, the obvious Broadcasting Union (EBU) has produced
such as drama, may also prefer large Cameras such as the Canon XF305 and choice may seem to be to select the a tiering of HD cameras, referenced in the
sensor cameras, which give a great look Canon EOS C300, on the other hand, use highest bitrate for the highest quality DPP Delivery Specifications, which can
by enabling a shallower depth of field. All more consumer oriented Compact Flash video. However this decision may have be found at tech.ebu.ch/camtest . This
of this should be considered alongside the (CF) storage cards that are sometimes enormous implications for your budget tiering may help with the decision making
list of broadcaster accepted cameras. treated almost like consumable tapes for and workflow. process, however many will find it too
the duration of the shooting period (the technical to assist in camera selection so
WHICH RECORDING FORMAT? fact that they are relatively low cost means The higher the bitrate, the more memory it is important to check that the camera
Increasingly cost is the key component that you can carry additional cards as you is required to store the information – and and the settings you select meet the
– and this means not just the cost of the would with tape in order to reduce the that means the less you can store on required technical standards of your
camera but also the cost of the media it frequency with which you need to clear the card. As a result, this may require commissioning broadcaster.
uses to capture the image. and re-use cards). additional cards and generate more work
on location. More frequent card re-use will
For example, P2 (by Panasonic) and The Sony XDCAM disc cameras mean more regular duplication and extra The remaining technology choices
SxS (commonly referred to as ‘S by S’) meanwhile have relatively cheap media back up storage. Similarly, your post– are also critical components of the
cards are relatively expensive, and must (XDCAM discs) which also happen to be production costs will increase, as you will workflow, and the final choice of
therefore be cleared and re-used. This in almost identical to a tape based operation, need more storage in your edit suite. camera and capture format should
turn requires production teams to create at least at the shooting stage. Some not be confirmed until they have also
multiple copies whilst on the shoot in order production companies have found these The choice of codec is also an important been considered.
to be able to clear and re-use the cards. cameras useful in their transition to a consideration in your workflow, as the

10. 9 | THE BLOODLESS REVOLUTION
3 4 5
BACK UP ARCHIVE EDITING TOOLS
It is important to decide when and how Early decision making about the method The editing tools (Non Linear Editor, In addition, productions requiring a fast
to back up. In file-based workflows this is of longer term archiving is important or NLE) may be already determined turnaround such as news and sports will
often to a removable drive, but in larger because the metadata, directory structure when using in-house post-production, need to be planned very differently. All
organisations it may be a more robust or format of the archive can affect, however the choice of camera and of the tools will need to be selected for
rack-mounted disc storage array. It is likely or be affected by, the choice of other codec compatibility with the NLE should seamless integration of editing, graphics
that the method of backing up rushes on technologies used for shooting. Content be considered if you want to achieve and playout.
location will be different from the method that will be ingested into a media asset a smooth workflow. Certain codecs
of backing up your final master at base. If management system, for example, will appear to work better with different
media needs to be couriered to your editor require more structured metadata if it is to edit platforms, and aligning the choice In general, it is best to avoid the
it could affect the workflow and even the be of use. Tapes archived on a shelf used of camera and editing tool will make the need to transcode entirely. However
type of drive you use. to require little more than a few notes production and post-production process if transcode is unavoidable, then we
on a label but productions are starting to more efficient. (See page 23, below.) recommend you transcode only once,
Another important consideration is who realise the benefits of capturing a more This alignment of camera codec with the for reasons of quality, convenience
has access to your rushes, particularly if detailed description of their assets. (See NLE’s supported codec will prevent the and cost.
the content is sensitive. File-based media the Rushes Management section for need for a transcode between the two,
means having multiple digital copies that further detail.) and this will save time and storage.
are much easier to duplicate. You may
wish to create multiple full resolution
back ups on separate security-protected
storage devices, and then delete the
original copy. (See Rushes Management
section below for further detail.)

11. PLANNING 10
6 7
DOCUMENT WORKFLOWS NAMING CONVENTIONS
Given the choice of technologies, a As we observed at the beginning of For example, the Canon XF305 allows
critical new step for many will be the this report, there are few things more you to configure clip naming settings in The answer appears to lie in setting
documentation of the workflow to be important in a world of file-based media the camera in an AA/0000 format. Sony up the cards and cameras to apply as
deployed during production. It is possible than having the ability to find your cameras also allow the configuration much useful technical metadata as
that this report may help: it could act material. If decisions on the naming of of clip naming settings but allow much possible, and then having the ability to
as a template for production to make material are taken on the hoof out on longer free text; and the Nano-Flash relate clip names to a shooting diary,
explicit their plans and decisions and location, they will almost certainly create has a two-letter format, similar to the report or logging sheet or similar.
communicate them to their team. problems further down the line. Far Canon. It is essential however to liaise
better to decide as part of the planning with the post house/production team,
In addition to the process steps and the process what naming conventions are especially the editor, before the shoot and
order they are to be completed in, the required by the production’s workflow agree on naming conventions and media
workflow has 3 main elements: and delivery requirements. management workflow.
1 the documentation on what The term naming convention actually
and how to shoot has three sub-elements: card labelling,
clip naming and numbering. While
2 the metadata to be captured shooters may prefer to simply use
numbers (e.g. Mov_0001, etc) this will
3 the naming conventions to be useless on a long shoot when people
be supported need to find specific clips. Equally it is
impractical to expect shooters to input
overly long or complicated file names.

12. 11 | THE BLOODLESS REVOLUTION
8
METADATA
We can see this area getting more LOGGING PRODUCTION LOGGING
complex as crews may need to populate (may also be referred to as footage, rushes or shot logging) relates to descriptive
metadata schemas or templates that are metadata produced about rushes to assist in the post-production process. For
Logging can be a confusing
set up before the shoot. This may require example, shot descriptions, transcriptions, and qualitative comments which
new specialist metadata expert roles term, as it means different help the director and editor select shots more quickly for inclusion in the edit.
to identify, create and possibly enforce things to different people We see this as the bulk of the requirement for production companies.
adherence to metadata conventions. This and at different stages of the
role may also include the definition of ARCHIVE LOGGING
back up procedures, archive procedures
production process. It may relates to logging your archive to identify clips and rushes that could be of use
and rights management, covering both be helpful to think in terms at a later point, e.g. for compliance or sale. The main function here is to label
release forms and defining how to apply of four types of logging. content so that it can be found easily through searching. This is rare in production
restrictions through naming conventions. companies but more common in broadcasters who log against a managed list of
keywords. It can also apply to rushes or completed programming.
The logging of metadata will become
an increasingly important area, as CATALOGUING
described, right. relates to the provision of technical, contextual and subjective metadata that
helps the distribution of completed programmes e.g. programme synopsis
for EPGs or cast lists. The emphasis is on the needs of end consumers or
distribution companies rather than production staff.

13. PLANNING 12
9
COMMUNICATE
RIGHTS LOGGING This planning work is only worthwhile if
Each one of these logging stages can be supported by a rights logging activity. The it is adhered to, and shared with all parties
production logging stage will typically be associated with contributor rights i.e. what throughout the production process. This
rights were used to make a programme. Archive logging is linked to access rights, i.e. may be conveyed in a variety of ways,
what are the internal restrictions on use and re-use of content. Distribution rights through morning briefs, structured
are intimately linked to Cataloguing as both are focused on end usage. documentation and even training to
ensure your team understands your
planning descisions and why it’s
important to adhere to them.
PRODUC TION LIFEC YCLE Increasingly some aspects of this
communication may be formalised, for
PRODUCTION LOGGING ARCHIVE LOGGING CATALOGUING example through the use of industry
standards for file exchange. It is also likely
Purpose is to assist in selection Purpose is to tag content for Purpose is to provide Programme information
and editing subsequent use or clip sale for distribution and end consumers that broadcasters or facilities will begin to
demand to see planned workflows before
they sign key stages, a move that some
RIGHTS LOGGING facilities companies have taken to protect
against potential loss of content with file-
Contributor Rights Access Rights Distribution Rights
based cameras. In the following section
we set out some potential ways
of presenting and documenting
production workflows.

14. The shooting workflow is primarily about rushes management.
Production companies are probably most comfortable with this area
and as a result it is likely that they will already have their own de facto
workflows.
The workflow has three elements. The first is the shooting of content.
Depending on the kit used, the next main element is whether and
how to back up, and also whether to re-use cards on location. The last
element is how to archive the rushes, and this is also a factor of the
archiving technology in place.
Archiving as a term is increasingly anachronistic, as it suggests that the
material will be put on a dusty shelf and not accessed. Nothing could
be further from the truth: in reality, archiving is an essential production
library function that provides a safe destination for shot material, and
underpins post-production.
PART 2
RUSHES MANAGEMENT

15. 1 2
YES
Review on
location?
PREPARE KIT RECORD SHOOT RECORD STORE & LABEL REVIEW
Set clip/card number, NO Review through
Record Capture Record Store cards or
label cards, camera card viewer
starting clip required last clip discs and label
video/audio settings, or laptop and
number video and audio number as appropriate
set/synch timecodes verify content
3 3
Back up
Re-use
to additional
cards?
CLEAR YES BACK UP YES media?
NO NO
Clear cards Back up
on site and verify
6
MEDIA ASSET REVIEW AND
MANAGEMENT INGEST PRODUCTION LOG
Media Management
Ingest Log for
Simple: Database
all rushes edit
Advanced: MAM
4 7
5
Archive
approach DIRECTORY REVIEW AND
DIARY STORE & LABEL STRUCTURE PRODUCTION LOG INGEST
End of shooting period: Store cards or Directory Structure Decide what Ingest selected
create shooting log discs and label and to ingest and rushes into
e.g. during or end of day as appropriate Managed Services log for edit archive system

16. 15 | THE BLOODLESS REVOLUTION
1
THE SHOOT
During the shoot, the team should
follow the naming conventions set in the A filming log or diary of what has been
planning stage, and follow the checklist shot should accompany the cards, and
below as they prepare and set up their kit should ideally capture information
in line with the agreed plans: such as the producer, date, location,
card number, clip start and end
• Set clip/card number number, and a brief description of the
content. Assigning this job to someone
• Label and number cards according
on the shoot allows the production
to specified conventions
team to keep track of everything that
• Ensure there are enough cards, using has been shot.
a newly formatted card each day to
avoid timecode conflicts
• Prepare camera and audio settings,
including video codecs,
wrapper/container,
progressive/interlaced,
audio codec, bitrate/sampling rate
RUSHES • Set timecode and synch timecodes
MANAGEMENT between cameras

17. RUSHES MANAGEMENT 16
2
WHAT TO SHOOT REVIEW
The What to Shoot concept has not At this stage comes one of the most could be done on the camera; on a card Media Asset Management tool. Some
really changed – production companies significant variations in production reader with a screen; on a laptop; or on a of these products allow companies to
already know what material they plan workflow: namely whether to review on monitor attached to the camera or upload content to the web as proxies for
to acquire. File-based cameras have location or not. In theory location may storage system. production logging, review and shot
added a new element however: in the seem the ideal place to review footage selection/proxy editing, before exporting
tape world, the amount of stock on since if there are any issues material can In any case, be sure to make the card an EDL for conform and finishing in a
location was limited; but in the file- be immediately re-shot, and it is required handling process clear to protect the high resolution editing system.
based world shooting is limited only by by many insurers. In practice however content. In addition to ensuring the cards
the available on-site back up storage this is not necessarily the case. Unscripted are safely stored, some cards offer the More generally, the review stage is
– which may be considerable. This can documentaries, for example, cannot be ability to also lock the content to prevent becoming more important, particularly
result in over-shooting – particularly reshot and even on scripted shoots the additional editing which could be one of on high shooting ratio programmes to
for a relatively inexperienced crew. crew may not have the time either to the first steps after removing a card from reduce the amount of footage to edit
It’s easy to think that over-shooting review the material or to reshoot. a camera. It would be devastating to have and archive. While MAM tools have
doesn’t carry a cost (since storage may a crew member accidentally delete the browse capability built in, there are also
be cheap). But in reality it can impose If the decision is taken to review on footage on their laptop whilst attempting non-MAM based alternatives in the
considerable costs later in the process, location, however, there can be multiple to review it! Similarly, a security procedure cloud. Our first report highlighted that
with more time required to review ways of achieving this. The most popular may need to be enforced to prevent the broadband connectivity is not good
content, and more storage required is to ingest either the source material copying of valuable or sensitive material, enough yet for most companies to
for post-production. or the proxies (if proxies have been as digital files are much easier to duplicate upload high bitrate content from many
generated in the course of shooting) and distribute than tape. locations; however as broadband
into a laptop. The material can then be connectivity is improving, the ability to
played on the laptop either through edit Many vendors offer free software tools to share and review in cloud or web-based
software or through a video client. review footage generated by their camera. services is becoming easier, especially
If the shooting period is short or if it is when proxies are used, providing
Alternatively, the rushes could be viewed possible to get footage back to base it may additional alternatives to the traditional
directly from the capture medium. This also be possible to review footage in your local review methods.

18. 17 | THE BLOODLESS REVOLUTION
3
BACK UP AND CLEAR
In a file-based environment, it is always Backing up to removable Hard Disc Irrespective of location, duplicated card
recommended to make a back up of any Drives (HDDs), meanwhile is not always content should always be verified before The best procedure should be to
important files. Whether to do so on as secure as people imagine. Discs fail the cards are cleared. Ideally this would follow a clearly defined, constantly
location is often also dictated by how far all the time, and even backing up on a involve running a checksum on the enforced and trusted back up process
the production is from base, how long the device that mirrors the content on two copied files (i.e. file comparison at the for all content. Backing up should be
shoot is and how valuable the rushes are. discs offers no protection if that device is, byte level) in addition to a spot check assigned to a named team member
say, dropped on the road. If backing up and comparing file sizes. This can be who is well trained and confident in
In practice, back ups are sometimes to HDD, it is therefore necessary to make time consuming so should be properly the task. They should be given properly
required simply due to camera choice. two separate copies on separate HDDs. scheduled into the shooting period. scheduled slots in the shooting period
Some higher-end solid state cameras Alternatively, Solid State Discs (SSDs) can to undertake this important job. Only
shoot on expensive media, so fewer cards be used to back up the content, which One key factor here is the human once they’re satisfied that back up has
can be afforded on the shoot. are much more reliable although are element. The DPP workshops identified been successfully completed, should
significantly more expensive than HDDs. that crews can be heavily overworked the content on the cards be cleared.
For example, P2 cards (amongst others and stressed – with the first day of
such as SxS cards) are both expensive Other cameras use lower cost cards that shooting having particular strains as the Again, it is important to check
and don’t hold much content; therefore are often treated similarly to digibeta or team find their feet. Tired and stressed insurers’ terms as to when a back up is
making a second copy (and also an HDCAM tapes: production teams can crews are not always the right people acceptable (and the number of copies
additional back up copy) and re-using be provided with enough of them to to be forced to make decisions on what required). Some vendors have an
cards is the only practical workflow. complete the shoot without needing to re- to clear off cards, and a workflow that insurance approved location back up
use the cards. This means duplication may forces them to do this at the end of every system with card verification.
These two back ups will have now become not need to take place until back at base – day’s shooting may result in permanently
the masters of course, once the cards are unless it is a particularly long shoot. lost footage or a large bill for memory
wiped. It is hard to overemphasise the cards if not properly managed.
care that needs to go into this process
– and the importance of having two
independent copies, not just one.

19. RUSHES MANAGEMENT 18
4 5
DIARY ARCHIVE APPROACH
The shooting log remains just as important Once rushes have been acquired and such solutions may be too expensive to genres and for the most part was not
in the file-based workflow – except now backed up, they can be archived in a be used as a long-term archive system, sufficient to justify any significant
the log needs to be able to reference file variety of different ways. Although as historically production companies incremental investment in MAM or
clips or cards rather than video tapes. broadcasters would at this stage ingest have archived on shelf space, where the logging services or products at present.
the content into a Media Asset perceived cost was zero and they may
Management (MAM) system, production therefore not wish to pay for ongoing The alternative to a MAM, or MAM-
companies and post-production companies long-term archiving. like approach, is to use a folder
typically cannot afford these systems. structure using removable drives, disc
Despite the importance of metadata in a arrays or formats such as LTO for
While this is changing a little, and very file-based environment, the implication digital tape storage. Media locations
cost effective systems are now becoming is that unless mandated by broadcasters, could be deduced literally by the folder
available, the price points need to be the additional or more advanced archive structure, or alternatively a database
extremely low (i.e. under £10,000) to be and logging processes are less likely or spreadsheet could be used to track
considered by the majority of production to be adopted unless there is a serious where files are stored and can be
companies. Online services may change business case for making better use of that found in the future.
this by providing more of a pay-as-you- archived and logged content. Feedback
go service that can be incorporated from the DPP workshops suggested that
into programme budgets rather than while there was some potential value
being seen as an overhead, although in clip sales, this is restricted to certain

20. 19 | THE BLOODLESS REVOLUTION
6 7
MEDIA ASSET MANAGEMENT DIRECTORY STRUCTURE
The workflow for content archived in a The directory structure approach involves
MAM system is different from the simpler archiving onto a set of structured folders
folder structure approach. Typically all using a file system. For many production
content is ingested first and then reviewed companies this will be adequate but does
within the MAM system. In a MAM require some forethought into structure
system, the content being reviewed will and as a longer term archive, it is unlikely
be a proxy, generated by the camera or that content will be found easily or at all.
by the MAM on ingest. This allows for Some production companies are using
desktop review of content, with any shots LTO for longer term archiving and use
deleted having the option of also deleting spreadsheets or very simple databases for
the high-resolution source material. The keeping records of content on LTO
MAM approach is particularly suitable for digital tape.
archive logging and where content is likely
to be re-used frequently.

21. RUSHES MANAGEMENT 20
RUSHES MANAGEMENT ACTIVITIES
ACQUISITION LOCATION/STUDIO EDIT PREP
CAMERA/CARD FIELD/STUDIO METADATA BASE RUSHES TRANSCODE TO LOGGING/
CODEC
FORMAT BACK UP ON CARD BACK UP WIPING EDIT CODEC DESKTOP EDIT
If necessary,
transcode original
Minimum Protocol for codec to edit codec.
Choice of Longer term
Choice of technical wiping original Ideal is to edit in Lower resolution
Codec back up back up,
file-based metadata cards (may acquisition codec. possibly remote
on camera device if possibly on a
VIDEO camera on original happen before However may also or cloud-based
required MAM system
card format Base Back Up) be for generating editing
lower resolution
for Offline.
Longer term
Ideally keep
Integrated Integrated Likely to be back up, ideally
Audio audio in
or separate or separate technical associated with N/A
codec high resolution
AUDIO audio recorder audio recorder metadata video if not
format
integrated

22. While the Post-Production stage may not appear at first glance to have changed with
file-based production, it is in fact heavily impacted – particularly by the choice of camera
and codec selected in the Planning stage. Non Linear Edit vendors claim to support
the full range of codecs provided by the leading camera vendors. In practice, however,
unless you are working in a format that is natively supported, it may be necessary to
transcode to another format for the ease of handling your material in the edit.
Put simply, we advise that for the smoothest workflow, you should aim to shoot in a
codec that your NLE supports natively.
The choice as to whether to perform a high resolution or low resolution edit is typically
determined by the amount of footage and the availability of storage for editing. If you
have the storage in house or the budget to rent storage in a post house, then you will
likely edit the high resolution material. If however, you have a high shooting ratio and
a low budget you will transcode to a lower resolution format and edit a low resolution
proxy version, conforming and re-linking to the master assets upon completion. This
is an area to keep an eye on, as developing technology is likely to have an impact on
this decision. If editing storage becomes cheaper it could favour high resolution editing
whereas the development of remote proxy editing could also sway the balance.
PART 3
POST-PRODUCTION

23. VARIANT
VERSIONS
6
TRANSCODE EDIT
NO READY FOR
1 DELIVERY
2
Codec NATIVE
supported?
HIGH RESOLUTION YES
9
AVAILABLE SHOOTING
STORAGE RATIO
QC AND
High Low COMPLIANCE
High High
Low Low VARIANT
VERSIONS
5 6 7 8
Low High
BACKGROUND
STREAM EDIT CONFORM FINISHING
1
3
Proxy
exists?
NO 4
LOW RESOLUTION
YES
CREATE PROXY
VARIANT
VERSIONS
6 7
MANUAL
EDIT CONFORM

24. 23 | THE BLOODLESS REVOLUTION
1
HIGH / LOW RESOLUTION
EDITING
Traditionally the two terms always This made a lot of sense in the early
associated wtih editing have been ‘offline’ days of NLEs as storage was scarce
and ‘online’. The term offline emerged and expensive. However some people,
from film TV production where source notably storage vendors, believe that
rushes were copied to a lower cost format with falling storage costs, offline as a
that was then used to create a rough concept should disappear, as it should be
assembly or a full off-line edit, that would possible to work in full bitrate resolution
then be conformed and finished using the from the beginning. Others however
source material. With NLEs the term has point out that HD (and beyond, with 4K
been used to refer to the use of a lower and 8K emerging) is increasing storage
resolution proxy version to create a rough requirements – especially as file-based HD
cut, and then using the NLE project or an cameras also tend to bring over-shooting.
Edit Decision List to conform and relink This, they insist, will ensure that offline is
the high resolution master assets to still retained as an approach. Still others
‘finish’ the edit and export. argue, meanwhile, that different delivery
platforms require different resolutions –
and that what is considered ‘offline’ quality
for broadcast TV may be considered
‘online’ quality for the web or mobile.
POST-PRODUCTION

25. POST-PRODUCTION 24
One thing is clear: the terms online and saving the time needed to conform and The type of edit will also help to inform editing kit being used would also inform the
offline are becoming blurred and seem re-link the material. Alternatively, some whether to use the high or low resolution type of edit. If performing a shot selection
increasingly anachronistic. There are hugely complex edits with a lot of material and bitrate media. Grading, for example, or simple rough cut in the field on a laptop
now new edit systems emerging which in a variety of codecs may struggle with will require the high resolution media and it’s unlikely it would have the power
allow you to stream directly from high the full quality media, unless the editing is therefore more likely to require a more or storage capacity to handle the high
resolution material, enabling you to edit in facilities have been set up and tuned for powerful machine. Whilst you can perform resolution media. Production companies
a lower proxy resolution while the material supporting these types of complex jobs. a shot selection on the high resolution are using low resolution and bitrate media
is being automatically conformed at full material, it is probably easier to work to perform shot selections and rough cuts
resolution in the background: in short, In summary we would use the matrix with a low resolution and bitrate copy on to reduce the amount of rushes they take
to perform offline and online editing below to guide the offline/online decision. a cheaper editing system. Similarly, the into the high resolution edit.
simultaneously. As a result, it is more
accurate to talk in terms of working with
the high resolution or low resolution or OFFLINE/ONLINE SHOOTING RATIO
bitrate media.
DECISION MATRIX
DPP members confirmed that typically LOW HIGH
the choice of whether to edit with the
high or low resolution and bitrate was
based on the amount of storage available HIGH Online Offline Bias
on their post-production systems and VOLUME OF
how high or low the shooting ratio was AVAILABLE
on their shoot. Occasionally, turnaround STORAGE
time would also become a factor as fast
LOW Online Bias Offline
turnarounds favour a high resolution edit,

26. 25 | THE BLOODLESS REVOLUTION
2 3
HIGH RESOLUTION PROXY BASED
EDIT EDIT
Many of the main broadcast cameras For fast turnaround productions such as for Each editing platform has its preferred Depending on your Media Asset
write video in codecs that use complex news and sports, working end-to-end in a codec to work in. Avid Media Composer Management solution, proxies may
algorithms to compress the highest quality codec that is supported natively throughout prefers DNxHD whilst Apple’s FCP have already been generated on ingest
possible into the lowest bitrate possible. the process will make for the smoothest prefers ProRes, for example. Panasonic for browsing, shot selection and low
While this feature is useful as a means of and fastest workflow. The ‘native’ format P2 cameras, meanwhile, can shoot in resolution editing.
maintaining a high quality in a low card is the source format the camera encodes DVCPRO 100, which uses a compression
storage space, it can create difficulty in the video to, so an NLE that can handle technology that is easier for editing Alternatively, some cameras can
the edit because of the processing power these easily without the need to transcode systems to handle making it possible automatically generate these proxies;
required to decode the material. can ensure a smoother workflow. Non to edit natively, while some other however we found in the workshops that
fast turnaround productions can also cameras can shoot directly in the NLE’s it was rare for production companies
As a result, editors often prefer to benefit by selecting compatible kit in the preferred codec. to use them. One reason for this is that
transcode into a format that is much planning stages or otherwise accepting they often work with multiple camera
easier to handle. This is not without issue the consequences of these decisions, brands on the shoot where some may and
however, as transcoding takes time, perhaps for other benefits, planning for others may not generate them, making
additional storage and results in a small the additional time and storage that will be it simpler to not use them at all and to
‘generational-loss of quality’, meaning required in post-production. re-generate all the proxies later in the
that it’s often best to avoid the need for a workflow instead. Furthermore they found
transcode altogether. that managing the proxies – as well as
the rushes – just added another level of
complexity to the shoot.

27. POST-PRODUCTION 26
4 5 6 7
LOW RESOLUTION LOW RESOLUTION EDIT CONFORMING
PROXY GENERATION STREAMING
If performing a low resolution edit, lower Emerging stream-based remote editing After choosing to edit with the high or Once the various edit versions are
resolution/bitrate proxies need to be such as Avid’s Sphere, Quantel’s low resolution media, the craft editing complete, the low resolution media can
generated. In the edit for example, editors Qtube and new products from Adobe process has not significantly changed. The then be re-linked to the high resolution
working on Avid tend to transcode all automatically generate and stream main difference is that some productions master media. This is much like the
footage to Avid 10:1, while those working video to a remote edit station. These are now performing more detailed shot conform that used to be done in an
on FCP will transcode to ProRes 422 technologies blur the line between selections and even rough cuts in order to offline edit with tape masters, however
(Proxy). It is possible to edit with lower online and offline editing, streaming a narrow down the volume of rushes and the technical process is clearly different,
quality proxies than these, however it isn’t version sufficient enough for most offline reduce the amount of storage required. and less manual. Gradually, this is
recommended as the loss of quality may editing, while reducing the need for a This means the editor only works with becoming simpler as the conform process
make it difficult to see issues from the large local store by editing via proxy and the better material. Although some is automated and with low resolution
shoot, such as soft focus. automatically conforming as though you craft editors are now comfortable with streaming, can be done in the background
were editing the high resolution media. also finishing the programme (see 8), without the user even being aware of it.
many prefer to leave this more technical At present, grading, graphics and audio
If variant versions are required, such as for final stage to specialists – much like mastering teams typically take over after
pre and post-watershed, they can be cut the old offline/online editor distinction. the conform, working with the high
after the main version has been created. resolution media. However as the quality
of the proxies improves it may be
possible for this step to be performed
prior to the conform.

28. 27 | THE BLOODLESS REVOLUTION
8 9
FINISHING QC AND COMPLIANCE
Once the edit is complete, for all but the This step is to ensure that the video QC and compliance procedures may vary
smallest productions the video is likely to go and audio of the final programme – depending on the final destination of the media,
through at least some basic grading. Some together with its various versions – are and this means it is not possible to detail them
craft editors ‘grade-as-they-go’ throughout of appropriate quality for the intended all here.
the editing process however colorists may platform, and that they conform to the
add to this or change it to achieve the look rules and values of the broadcaster. It’s Of course, compliance with the DPP AS 11 file
the director is going for after the edit. important to realise that if technical or and metadata standards will become part of the
editorial changes are required at this technical checks applied by UK broadcasters.
Similarly, whilst the craft editor may have stage, it is actually far more complex and
already added some titles/graphics into slow to achieve than on tape, where a
the timeline, any additional required simple ‘insert edit’ could be made. With The DPP is committed to creating greater
graphics and effects will be added to finish file-based programming, the whole file standardisation in technical delivery standards
the product. Again, whilst the craft editor will need to be played out or ‘published’ among UK broadcasters. We are pleased to
may have made some decisions about the again. This should be considered when have taken the first step by publishing agreed
audio mix, more advanced audio dubbing editing to a tight deadline. common standards for tape and file based
and mastering will also take place after the delivery of finished programmes, and these
craft edit. Quality control of file-based media can can be found here:
be very different from tapes. The DPP has www.digitalproductionpartnership.co.uk/outputs.html
Finishing is also now the term used to not yet produced any guidance around
describe the final ‘legalising’ stage of the this, but we are working with the EBU,
edit process in which checks are made to who are developing common guidelines
ensure the programme conforms to various for QC tools. This will enable production
broadcast technical guidelines. This is a teams and facilities companies to choose
specialist skill and is still often performed automated QC solutions which suit their
by a different editor from the one who workflows whilst ensuring they meet
performed the craft edit. It also requires broadcasters’ delivery standards.
some specialist equipment, and may be
performed in a separate edit suite.

29. POST-PRODUCTION 28
EDIT AND FINISHING ACTIVITIES
CRAFT EDIT - VIDEO FINISH
CRAFT VIDEO CONFORM/ AUDIO FINISH &
CODEC DUB GRADE
EDIT SYSTEM RELINK TRACKLAY LEGALISE
Acquisition format Relink to Legalise refers to
Choice of if NLE allows, nearline if Video taken Grading systems ensuring the
craft edit or native editing in from Craft if required final version is
VIDEO editor codec lower resolution technically compliant
Audio also
conformed at Create Audio processing Audio exported
N/A PCM
same time embedded AAF device as .wav file
AUDIO as relink

30. The final delivery of content from production companies is the start of
the broadcaster’s own internal processes, and for many, their own file-
based processes. The growth in distribution across other platforms has
also spawned new and complex workflows for generating versions of
content for different smart phones, tablets and connected TVs.
For production companies, this part of the workflow has remained
largely unchanged, primarily because tape remains the standard delivery
format. File-based delivery is on the increase however, and, through the
DPP, UK broadcasters have committed to it being the preferred means
of delivery by 2014.
PART 4
DELIVERY

31. 2 3 6
YES
FILE DELIVERY
TRANSCODE SPOT CHECK BACK UP NETWORK
Transcode for each
Spot check
delivery destination:
for transcode
web/mobile/DVD/
artefacts
etc…
YES FILE
4 5
1
Variant
delivery Tape or file
formats NO TAPE LAYBACK MASTER
ARCHIVE TO TAPE DELIVERY
Master(s) and Courier tape
projects to destination
4
POSTERITY AND
RIGHTS LOGGING
Decide what
to ingest and
log for edit

32. 31 | THE BLOODLESS REVOLUTION
1 2
VARIANT TRANSCODING
DELIVERY FORMATS
Most production companies are required For those that are required to produce
to make Tx masters for their UK and variants for online, mobile or catch up
International broadcast customers. services, files require transcoding into
However, some may be required to destination formats. Typically this would
produce variant delivery forms (e.g. for involve taking the transmission master and
iTunes) either because of the specific generating different lower bitrate versions
nature of the deal and the rights sold, or based on the profiles established by each
because they are dealing with overseas platform provider.
commissioners who are acquiring several
different masters. Note that ‘variant’ Transcoding is now a much more common
means different formats – if the material and lower cost process than in the past.
was being edited simply for duration or FCP users have historically had the
content, then it would just flow through Compressor transcode capability as an
DELIVERY the post-production process again. inherent part of the product, and some
companies are now selling software
transcoding products for less than £500.
There are also open source transcoders,
such as FFmpeg, commonly used by
vendors – although these require some
advanced programming skills to ensure
that the output file conforms to the
standards required by playout servers.

33. DELIVERY 32
3 4 5
SPOT CHECKS LAYBACK MASTER
TO TAPE OR FILE
Transcoding will require spot checks to The final Master for delivery in the UK 1 Completion of the programme file – 3 Entering the Technical metadata and
look for transcode artefacts. While this is currently predominantly on tape, and with final video and audio. Wrapping of the file – using the DPP
is possible on a number of players it’s HDCAM SR is the format of choice for HD application – the metadata can be
important to verify with tools that can commissions from major UK broadcasters For HD commissions by DPP entered and will then be wrapped
provide a good quality video display to – but not for much longer. ITV, BBC and broadcasters (ITV, BBC, C4, Five, into the programme file, some of the
ensure the detection of any artefacts. Channel 4 are currently piloting file-based UKTV, BSkyB, S4/C) this will be AVCi technical metadata already present
delivery and have, through the DPP, 100 Mbs, to the DPP specifications. in the file will be extracted and re-
agreed that delivery on file will be the written as part of this process. The
preferred format by 2014. 2 Inclusion of Editorial metadata (e.g. end result is like a virtual tape box
series title, programme title) which label and technical reporting sheet.
ARCHIVE Currently the creation of a master involves will be required by the broadcaster.
layback to tape for audio mastering, and This ensures the master programme Once wrapped the master
POSTERITY AND most likely dubbing clones. These are then file is well labelled and can be found programme file will be ready for
RIGHTS LOGGING distributed to customers, via courier or in the archive and played out in delivery to the broadcaster.
taxi. This process can often involve the broadcast systems once delivered.
hire of relatively expensive HDCAM SR This can also be done in advance of
At this point, the production company decks, as smaller companies in particular the programme completion if required.
may archive the project and carry out an could not justify the cost of outright
archive log – whether for posterity or to purchasing. The DPP are currently building a
start the process for finalisation of the simple downloadable application for
rights. For UK commissions this is often In the near future TX Masters will programme makers to use freely. This will
done via Soundmouse for cue sheets increasingly be files. Their creation will make entering the required metadata in
and Silvermouse for PasC forms. be a three stage process: the required format straightforward.

34. 33 | THE BLOODLESS REVOLUTION
6
FILE DELIVERY NETWORK
When one talks of taxis and expensive to a very significant extent over the past as Signiant and Aspera), these are not components, in addition to core network
deck hire as the current industry standard five years, using such technology for yet pervasive outside broadcasters and acceleration capabilities that could support
it isn’t difficult to see that file-based internal as well as external traffic and distributors and in the near term the automated file delivery workflows.
delivery should represent an opportunity traffic workflows. Such solutions are most common form of file-based delivery
for savings and efficiency. cheaper than tape traffic, and also faster is likely to be a removable drive. While These are not problems that producers can
and more secure than methods such as FTP. this may make commercial and logistical solve on their own. It is reasonable to expect
The DPP’s technical and metadata sense for production companies, it is less broadcasters to take the lead – with key
standards for HD file-based delivery However, these tools are currently only effective for broadcasters: they would suppliers – in defining the most effective
should make the process even easier pervasive in broadcasters and very prefer to receive files over an IP network and pragmatic means of file delivery over
as there is now just one agreed file large production and post-production so that they can avoid manually copying the next year or two regardless of the
format, structure and set of metadata companies. For the rest of the market, the files, and make use of fully automated volume of content delivered.
requirements for the UK’s seven major only remaining obstacle will be achieving workflows starting at the entry point into
broadcasters. This means that the process file delivery over an IT network, as even if the broadcaster’s architecture. For now though, through the DPP,
for creating the completed programme file production companies had the necessary broadcasters have published a preferred
will be the same whether you’re delivering uplink, people would still be anxious about Realistically, broadcasters may need list of ‘modes of delivery’ for completed
transmission-ready files to BBC, ITV, using unsecure FTP (file transfer protocol) to share infrastructure based on programme files.
Channel 4, Five, UKTV, S4/C or Sky. as a means of transferring content. While technologies such as Signiant and
there are proven secure software based Aspera to enable companies to transfer These can be found at:
Broadcasters have adopted secure, methods of transferring content over completed programmes to them. Both of www.digitalproductionpartnership.co.uk/
accelerated, file delivery over IP networks public and private IP networks (such these technologies now have workflow technical_standards_file_del_options.html

35. DELIVERY 34
DELIVERY ACTIVITIES
DELIVER
TRANSCODE FOR
LAYBACK TX MASTER ARCHIVE
NON-BROADCAST DISTRIBUTION
HDCamSR
Dubbing to HDCAM SR
Transcode into lower
if not using file transfer or Long term archiving
bitrate file formats
on tape or file
VIDEO Creation of Tx File AVCi 100
for web, mobile and tablets
to the DPP format
Integrated with Video Integrated with Video Integrated with Video Integrated with Video
AUDIO