From fcp.co

A story we have had here on the back burner since March of this year, so we are very pleased to see this iBook on technical specifications for broadcast commercials published. The best news is that it is also a free download.

Craig Russill-Roy contacted us back in March asking if we could promote his forthcoming book about the tech specs you need to be aware of if you are going to deliver commercials to broadcasters in the UK.

We were pretty excited to see this documentation published as we are constantly coming across broadcast masters from NLEs that have faults. It has taken slightly longer to finish than Craig had expected, but Broadcast Delivery 101 is now a free download on the iTunes store.

The 117 page iBook is a superb listing of all the technical requirements needed to get a commercial aired on UK television. As the UK has pretty stringent broadcast technical requirements, this is great information that will be useful for any editors who have to output commercials or indeed any broadcast programming for the UK and international distribution.

Chapters include:

Formats – this covers all the main formats the digital distributers receive including IMX50, Prores, DNxHD and MPEG2 4:2:2

Editing Systems – Covering FCP7, FCPX, SMOKE, Premiere Pro and AVID

Slates, Countdowns and SetUps – This covers the correct Ident board for each region and the information required by the Broadcasters

Clearance – This covers all the clearance bodies around the weld, this is the highlight all the requirements which allows to commercial to air.

Audio – This covers all the requirements from R128, Stereo and 7.1

Video – This section covers the difference in Waveform and vectorscope down to Hardings test (Photosensitive Epileptic test) to Text size for disclaimers and Aspect ratios

Transcoders – The section covers the main transcoders and the good and bass, Rhozet, telestream, Squeeze and Compressor are all covered including videos

Delivery Methods – This section explains the main 3 distributers out there

Extras – This section covers all the different formats required around the world.

We asked Craig to give us a little more information on how the book came to be published:

Beginning my career in Television back in 1988 in Australia I got on the ladder as a tape operator and moved fast up the ranks to a Promo Producer. Within these years I was blessed with the opportunity to learn all aspects of broadcast and production and picked up a few awards on the way (Young Editor of the year in 1990, Top ranking for popular TV Show, ‘Master Builders Association’). In 1997 I moved to Sydney to join FOXTEL, Australia’s largest cable provider and was lucky enough to gain further talents in management and cable broadcasting, from there I moved to an Advertising Agency called ‘Advertising Advantage’ and purchased the first Dual G5 Power Mac with Digital Voodoo SDI cards and a RAID.

Whilst holding the position of Creative Director at Advertising Advantage, I was lucky enough to produce dozens of commercials and the creative juices were flowing. I took up a position at Sydney’s best post house called OMNICON which in 2001 merged into The Lab Sydney. It was here I was introduced to DVD (SPRUCE) and all of the other multimedia file formats out there, it was another world.

After a few years of high end post production that included Commercials, Station Indents, Movies and TV Shows I was asked in 2004 to join a small company called Adstream in Sydney. Adstream was a small digital delivery company with approximately 10 people, the concept was simple – Deliver commercials to broadcasters. At the time 1 inch and Digital Betacam were the formats of choice, so my new journey began as Production Manager. After ingesting and quality controlling tens of thousands of commercials I was in high demand from Advertising Agencies and Post Houses to help guide them through the pitfalls of Safe Title, Aspect Ratios, Progressive and Interlaced as well as the numerous NLEs out there.

Adstream moved to England, so the next few years were full of travel and office building as I was in charge of distributing servers and knowledge to all broadcasters in Europe, South Africa, Latin America and UAE. Now Adstream ingest over 9 million commercials every year, on a daily basis I am asked for presets, “How do I”, “can you”, etc etc so I made up Delivercommercials.com, a resource that allows people to gain information on Loudness Act R128, Safe title, File formats, country specific requirements and most of all keeping the highest quality and the smallest file size.

More agencies and production companions are asked to re-purpose and distribute a campaign that will be global, where the pitfalls come is some countries are HD some are not, some require wall to wall audio, some don’t, some are 4×3 safe title, so after the millionth email on, “How do I export multiple audio from FCPX” and “Can Adobe Premiere Pro do X,Y,Z”, I started writing a iBook, Broadcast Delivery 101.

Broadcast Delivery 101 was designed to help people in the Post Production industry who specifically need assistance with all manners of technical specifications on Aspect Ratios, HD & SD, File Formats and Non Linear Editors. This iBook is full of tutorials, endless information regarding technically specifications and video introductions for each chapter.