This code does not need to be embedded into the file itself.
It is simply a unique identifier code that is used in the slate information
and as the filename itself for distribution and tracking. I always
make them up myself then and inform all concerned parties what it is.
I will normally use a series of letters that identify the agency & client,
followed by the date of distribution.
Coca-Cola spot 1
MCECC0905111.mpg (or whatever the specified delivery format may be)
I don't know about that. Look at this forum here in Adobe I found about ISRC codes.
It seems is different from that ISCI code used in USA.
But I don't get it.
But I don't get it.
I suggest contacting the folks who sent you the form
and telling them you don't know what to do.
1 person found this helpful
You cannot "make up" an ISRC code, you must be issued a registrant prefix by the IFPI registry for your country of origin, then you add the year and a unique 5-digit number to the end of that prefix for each recording you issue.
Read their website, email or call your local agency, and ask for a prefix.
Thanks for clarifying... as I disclaimed in my first post,
I have not done any direct broadcast distribution to Europe
(as I now assume you have).
In your experience with IRSC codes, what method (if any)
is employed to embed the code into a broadcast A/V file?
Thanks both of you,
My country is not in the list. I'll email to another country asking for instructions.
I add myself to the question of Joe. After having the code, how do I embed it?
There's no "official" way to add an ISRC to an electronically-distributed file. The Handbook defines how to add it to the header data in mechanicals (CDs, DVDs, DAT, etc.) but if we're sending someone an audio or video file, we put it in the XMP metadata "description" tag, in the form "ISRC: cc-xxx-yy-nnnnn". If for some obscure reason we have to send a WAV file, we use BWF headers and shove it in there instead.
The problem is not with where it could be put (adding a custom "ISRC" tag to the XMP tree is the logical way to do it), but that pretty much nothing will read and display that custom tag. IFPI are supposedly consulting on where to put it, but right now as we know almost any software can see "description", and it's not essential for any other purpose given we have tags for title, author, etc., "description" seems the best place to put it so a remote engineer with XYZ Software can find it again without jumping through hoops.
The ISRC code is not an end-user thing, it's an industry thing - so b/c or labels can positively identify where some random recording came from, and make sure they're paying the right person. While it's usually burned into audio CD headers, it's rare on DVDs and isn't broadcast - in fact even if a CD has ISRCs in the table of contents block, almost no playback software will display the codes or transfer them into ripped files, so an end user has no idea they're there.
iTunes insists on every track having an ISRC, purely for correlation against CDDB. If you're sending stuff to a pressing plant, some people want it embedded, some want an Excel sheet listing the tracks and ISRCs, and some just want a label on the CD. In terms of digital video, ask three broadcasters where to put it and you'll get three answers, and three impolite suggestions. In the days of videos biked to a studio on tape, many people put it on the leader.
Thanks for taking the time to post this very interesting information.
I think I'm relieved that the few projects I've done for European (eastern)
distribution were delivered as NTSC HD files, and the post house there
handled the PAL conversion and broadcast distribution.
To address the OP's question regarding a method of embedding
the ISRC code into a digital A/V file... it will likely be a matter of
getting a definitive submission specification from the broadcast outlet
(in the OP's case, MTV Europe).
I have never submitted anything but thought one thing you could do once you do find out what number to submit would be to create a 5-10 second intro title that had that info on it so whoever played the video would see the code.
Just a thought.
I feel sure that is what he will need to do...
that's all I have ever done with my self-generated ISCI codes.
I have never been required to embed an ISCI code into an ad's
XMP metadata "description" tag, or anywhere else.
Every digital media distribution company I have encountered
will require that the ISCI code (regardless of where it came from)
be incorporated into their "submission format template".
For example, all ads I distribute through DGFastchannel US must be:
:01 black, :05 slate with ISCI, :02 black, :30 spot, :01 black.
The slate (or leader) will typically list the agency, client, product,
ad length, audio format, date and ISCI code with a countdown.
In addition to the ISCI code appearing on screen as text in the
slate (or leader), the ISCI code is also assigned as the filename itself.
The OP said his instruction was:
"*PLEASE ENSURE THIS IS THE ISRC FOR THE VIDEO, NOT THE SOUND"
If the music recording is copyrighted, it will have it's own unique ISRC code
that has been officially issued and filed as part of the copyright.
Thanks to all,
Of course I'll do the slate.
But I've found so different information that ISRC codes that I needed to be sure about that.
What I've found and everybody is agree here is that ISRC code is to be sure that the right person gets their royalties, just as Dave said. And as you know the slate isnt' showed in TV broadcast, that's why it needs to be embedded electronically.
Anyway, I talked to the artists and they spoke with someone who has made them their videos before in Europe (they're from Switzerland) and it they will take away the videoclip with everything what MTV Europe asked (Slate, Pal, 4:3, audio -9 db, so on), except the ISRC code that will be embedded there with a code I'll give them.
Thanks to all of you. It's good to learn new things everyday.
Alvaro G. G.