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What is the industry standard requirements for post production??

  • International frame-rate standards; Europe, Asia, North America, South America & Japan

  • Audio sample-rate and bit-depth in relation to distribution / transmission formats

  • Accepted decibel levels for final delivery

any help??

thanks

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1 Answer

That is a HUGE question with many answers but a few places to start would be:

A "sticky" from Gearslutz which will help you to get started:

http://www.gearslutz.com/board/post-production-forum/229741-standard-mixing-levels-movie-theater-dvd-broadcast-tv-commercials-etc.html

For US broadcast standards you should read the ATSC's A85 document:

http://www.atsc.org/cms/index.php/standards/recommended-practices/185-a85-techniques-for-establishing-and-maintaining-audio-loudness-for-digital-television

For Europe there is a similar document put out by the EBU.

Here is an image of the NTSC, PAL, and SECAM breakdown in the world:

http://en.wikipedia.org/w/index.php?title=File:PAL-NTSC-SECAM.svg&page=1

Sample-rate and bit depth in relation to distribution is an equally huge question in and of itself and will require research of your own.

A few standards but there are MANY choices and reasons for choosing:

  • 24bit/48kHz
  • 192kpbs/48kHz
  • 128kpbs/48kHz
  • 192kpbs/44.1kHz
  • 128kpbs/44.1kHz

I just want to reiterate that this is a huge question and the links I sent are starting points, if there are specific areas or delivery formats you are creating we might be able to be more specific.

There are so many delivery options from HD video to mobile audio and everything in between...Dolby AC3 encoded for Blu-Ray, Dolby E or Dolby Digital encoded HDCam tapes being sent to film festivals, DCP in theatres, Hulu streaming on your iPhone, HD Quicktime catapults to broadcast with WAV or even MP3 audio (not recommended but I have seen it). Delivery is something like the wild west.

Good luck and let us know if there are more specific questions.

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A slight clarification to build upon this. The output process is usually split into two processes: printmastering and encoding. For printmastering, 24-bit/48k or 16-bit/48k tend to be the defacto printmastering choices for motion picture/television media - that process is pretty much a slam-dunk in terms of what's always expected. As raw uncompressed BWAV the former runs at 1,152 kbps per mono channel, which is not to be confused with MP3/AC3 compression formats which run from 128-320 kbps. These would fall under the encoding process - and that's the process which varies a lot as mentioned –  Stavrosound Nov 5 '12 at 8:55
    
Absolutely correct and thank you for the clarification. Encoding specs are highly variable, but it is true that 24/48 or 16/48 are somewhat de facto output specs. –  Ryan Nov 6 '12 at 15:46
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