This document brings together documents previously published by Ofcom and the BBC and is intended to serve as the basis for all subtitle work across the BBC: prepared and live, online and broadcast, internal and supplied.
These notes provide guidance on standards for the production and presentation of audio description.
These guidelines are closely based on the broadcast subtitle guidelines published by the BBC for linear broadcast subtitling in 1998 and industry best practice.
This document provides guidance on the technical standards which are to be attained in the
production and presentation of “closed” subtitles. It does not apply to “open” or “in-vision”
captions.
We are not talking about standards, training, and certification programs in this section. Those are prolonged processes that require time, expertise, and money.
This document was drafted by the ADI AD Guidelines committee in 2003 and serves as a useful set of guidelines for audio describers.
A reference manual for the television broadcast & post production industries.
Your comprehensive guide to High Definition on a budget: Digital Film, Post Production and Editing.
Your comprehensive guide to High Definition on a budget: HD formats, SD formats.
Your comprehensive guide to High Definition on a budget: video formats and sampling, concept and formats of video compression.
Nous en profitons pour éclaircir la confusion sur les proportions d’images (les pixels non carrés) et sur la zone de l’image réellement affichée sur une télévision.
This document is for digital media professionals interested in moving to high-definition production, post-production, and distribution.
An Introduction to DV Production, Post-Production, and Delivery.
Introduces the basics of sound.
We are talking about how MPEG-2 is delivered, NOT how it is encoded. The format for delivery is independent of the content.
BBC Technical Standards for Network Television Delivery.
Technical requirements for commissioned programmes supplied to Channel 4.
Cette instruction complémentaire, document extrait des CGV, s’applique aux clients de FTP ainsi qu’aux chaînes thématiques gérées par France Télévisions Publicité.
Presentation about aspect ratio challenges, channel play-outs, material formats, timelines, High Definition TV.
Technical specification for broadcast ready shows on BETA SP or DIGITAL BETA.
Technical specifications for broadcast ready shows supplied to France 4.
Technical specifications for broadcast ready shows supplied to TF1.
Instructions on how to prepare broadcast ready material supplied to Arte G.E.I.E.
France 2’s appended technical specification, Digital BETACAM.
AVC Standard as defined in ISO/IEC IS 14496-10.
Help you choose the right Avid codec for the job.
Common digital video intermediate codecs.
Common digital video distribution codecs.
Common digital video acquisition codecs specification guide.
Commom digital graphics formats specification guide.
Common digital audio codec specification guide.
On the differences among grading controls and operational ordering.
Examples of why and when color correction can improve a video.
There are several ways to get an “uncompressed” AVI out of ffmpeg, but that’s not as well defined a term as you might assume. A better term is “lossless”…
Music as the Artist and Sound Engineer Intended. It’s our job to faithfully and accurately deliver your songs and albums to fans around the world exactly as you intend them to be heard.
Part of specification that apply when encoding with H264/AVC codec. It is about settings that are for creating 100% compliant Blu-Ray structures.
Reference for Chroma Subsampling, GOP Compression, Frame Size, Aspect Ratios in Avid.
Handbook on the best way to encode for BD Disc and HD DVD.
This primer is all about helping you prepare high-quality compressed videos. The best starting point for achieving great results is to understand why and how compression is done.
What is it to encode a video?
If you’re self-employed, your business will have various running costs. You can deduct some of these costs to work out your taxable profit as long as they’re allowable expenses.
Freelance ratecard for Factual TV 1 April 2009
Freelance Weekly and Daily rate for factual TV programmes.
All menus and sub-menus of Photoshop CS4 are being translated from French to English and English to French.
Study aiming at understanding the structure of companies in the animated film production sector, and to measure employment and its development.
Data regarding the health of the French animation sector in 2019 such as production, distribution or TV and streaming services audiences.
A study of the animation sector in 2011 to appeal to the British government for the importance of animation in the British industry.
Common digital interface specification guide.
It covers everything you’ve always wanted to know about audio interfaces.
Andrew Devis shows how to use the effect to create a volumetric lighting effect for one shot and then to save a shot which suffers from being taken in a very bright environment and lastly a shot what has issues with being too dark in places.
How to light up a subject with three different source of light creating no shadows, with the subject being detached from the back and by keeping a certain three-dimensional feel still?
Top Tips to Film Distribution written by Mark Steven Bosko.
Table in an Excel file helping you calculate the space hardrive/time of PAL video depending of its frame quality.
Table in an Excel file helping you calculate the space hardrive/time of Avid ABVB and Meridien video depending of its frame quality.
Table in an Excel file helping you calculate the space hardrive/time of HD video depending of its frame quality.
The technique of video bias lighting has been in use for decades by the one who understand what is required for optimum picture quality and viewing comfort when using electronic displays.
Overdub takes you through the process of building your studio—from choosing the right gear to fine-tuning your current system.
Designed to assist universities and colleges to raise the standard of VFX courses available and therefore the new talent available in the UK.
The making of a documentary film in the advent of digital video technology.
Film metadata tracking.
This paper will describe how AS-02 (a file format specification designed to streamline versioning of content for multiple distribution channels) is evolving in the context of file-based workflows and provide an overview of the format.
In addition to tracking more than 80 standard metadata fields, Avid metadata entries as desired – it’s all tracked and made available for downstream use.
How can you integrate disparate technologies into a streamlined and cohesive workflow? With Avid Medi Composer.
The workflows described in this document will focus on three popular camera formats: RED, ARRI Alexa & Black Magic Cinema Camera.