Broadcast legal colours PAL

can anyone point me in the direction of a tutorial which will show me how to get my program at broadcast levels have looked at the scopes (dont really know what im doing but think 100 is maximum legal with 7.5? at the bottom)it seems my levels exceed these slightly, is it just a case of lowering the luminance and chroma levels or at a guess its a shed load more complicated than that
cheers

well people i will answer my own question. not only can u use the scopes to tell when a clip goes into illegal levels of white etc. but you can turn on a handy piece of equipment which shows zebra stripes that are green for legal and red for non legal. then in the video filters effects there is a handy filter called yes you guessed it broadcast safe add this filter (which can be changed to make sure its extremely conservative and cuts out signals above 100 IRE)and it works a treat i did still have some problems with luminance and chroma levels but adjusted these with brightness and colour correcter filters. bit i will say all of my problems occured due to camera operators using auto white balance settings (as if i didnt have enough work to do lol)don't you just love em

Similar Messages

Broadcast Safe for PAL

Right folks, I need a quick answer on this. I am set to edit a piece for UK broadcast this weekend and in the past I have had difficulty getting clearance having used the FCP Broadcast Safe filters. I had to then put the edit into Color and correct it even further to get it past the stringent guidelines!
What do we recommend in FCP and Color to get it right first time. The deadline on this cannot allow for any errors. Oh and btw I have no external monitors, only the scopes in FCP/Color!
Thanks! x

First of all, I strongly doubt that any amount of forum discussion is going to help, especially since we have no idea what your client's criteria are.
In the spirit of suggestion, though, using the FCP "broadcast limiter" filter at Extremely Conservative will help... a bit. But it depends on what you apply it to. Most people make the mistake of applying it to their video, ignoring all their graphics, etc., which is even more susceptible to generating illegal overshoots and chroma levels -- none of which will show up in the software scopes.
The FCP broadcast legal filter also does not do anything about sub-zero/pedestal undershoots, nothing at all. Only the COLOR "legal" limiter even looks in that area.
The only sure bet on a "one-chance"-only flow is to do a hardware legal pass and failing that, having an outboard scope with gamut alarms set as tight as you can to freak out at the slightest hint of trouble. And then you don't ignore it and actually stop and fix whatever it is that its flagging.
My condolences.
jPo

Broadcast legal?? whites, blacks, etc.

Hi All,
Just read a Phil Hodges article on creating great titles for FCP and am wondering if and/or how much applies to Motion 2?
Link to article: http://www.kenstone.net/fcphomepage/perfect_titlesphil.html
Do we still need to have the same concerns about legal whites, blacks, avoiding saturated colors, etc.? You would think a dedicated program like Motion might compensate for this?
Also, I keep reading things like Phil's final tip about adding a subtle gaussian blur to increase legibility - should this be a concern with Motion as well?
Cheers,
~Chris

Legal levels still apply in Motion. It doesn't limit you there. If you're concerned you can use the Broadcast Legal filter, but it is GPU intensive. Just follow the guidelines and you won't need it...
But don't worry about adding a slight gaussian blur - Motion anti-aliases everything.
Patrick

FCP text not broadcast legal?

Is the basic white text generated by FCP not broadcast legal by default.
Whenever I do "range check/excess luma" I always get the exclimation point.
Is this normal ? Does FCP's text always have to have the "broadcast legal" filter applied to it ?

All the people in this forum who seem to have attitudes are also the ones who help the most people daily, and manage to do that while working professionally in the business.
And with that statement, you've pretty much guaranteed that nobody in this forum who has an attitude (meaning the most knowledgeable people) will bother even reading your next question, let alone be helpful in answering it.
Learn to appreciate the people helping you with your problems. It will make them want to help you again. By following the system that Apple has set forth in this forum, it allows users to tell who is most credible & trustworthy in their answers. It doesn't take that long to mark a reply as helpful or solved.
Then again, if you know everything, don't bother. You probably won't have to ask anymore questions, huh?
You drew first blood, rambo.

Colour management or adjustment layer for broadcast output

Hi all,
I'm a bit confused about outputting broadcast safe colours and black and white levels. I am used to passing on my final render to a facilities house or an editor so am a bit green at this kind of thing.
In the help files it says its better to use color management so I've set my project settings/color settings to "SDTV PAL 16-235"
when I rendered out a few test stills and opened them in Photoshop to sample the colours, there are black levels of 0 rather than 16.
I've resorted to adding an adjustment layer to the top of the master comp and adding Broadcast Colors filter and adding Levels effect and setting Output Black to 16 and Output White to 235.
Is this an acceptable quick fix way of working?
I suppose I should have a look at color finesse when I get a moment
thanks in advance
s

Hi blabber,
Can you give me more info about step 2? I would like to repro exactly what you are seeing here at Adobe. How are you exporting your final animation? What format, codec, etc... Also small sample projects with single frames etc would be very useful.
Thanks
David McGavran
Engineering Manager

Legal Chroma what does the scale represent on the Scope

I want to ensure that my colour levels are rec 709 legal, I have tried putting the Premiere Pro 5.5 Broadcast legal effect on my clips and setting the maximum setting to 100. This does indeed restirct the upper levels but on the YC Waveform monitor when I click the option to see the chroma on the waveform the upper chroma levels are restricted to 100 but the lower levels fall below 0.3 on the scale which runs from 0-1. Should I be at the 0.3 point to ensure that my levels are legal or is 0 the lower limit. I believe that PAL uses anything below .3 of a Volt for sync purposes, is that represented as 0 on my scope or 0.3.
Sorry if this sounds confusing, I am certainly confused.

Thanks for your link but no one explains the chrominance scale, most of my well shot clips tend to bottom out at 0.3 which suggests that this is the normal range of values whereas some clips fall below. All the tutorials explain Luminance which I understand (and yes i know they are related as well). I have used the Video limiter and set it to 100% and the control that was set to -30% is set to zero, this seems to clamp the Luminance signal in the 0.3 and 1.00 limits, with what appears to be no visible artifacts or banding. I guess I need to understand saturation a bit more to control some of the peak signals in the highlights and shaddows regions. Loving getting into grading at this level of detail but it is a steep learning curve.

Color correcting - broadcast warning.

what does the yellow exclamation mark on broadcast safe mean.
Have been reading Ken stons CC tutorials and have been working to make my whites hit the 100 mark in my waveform.
If it goes over 100 the warning lines turn red - obviously illegal - but am getting this warning even if my whites ar under 100 - i.e white but broadcast legal.
The only time i get a green tick is when my whites are way away from 100 (at 90) and horribly almost grey.
The image I am using is pretty much black and white and even when I use autoblack/white the white is defaulting to this 90% grey.
Surely this is not right.

In ken stones tute he says that on FCP scopes the
black and whites are absolute 0 and 100 - unlike
external scopes in which the blacs would be 7.5 etc
This in reference to digital vs. analog NTSC scopes and the signal being measured. Digital video is zero black while analog video usually has setup added which is 7.5 IRE black, in NTSC land. You don't have to worry about this.
so I am trying to get my whites to that 100.
I turned range check off - and yeah the chroma was
fine - the luma was over.
What is the ebst way to stop this excess Luma without
dropping the whites to grey.
By the way - the image I am using is very similar to
this web page - pretty much blanket white wih a small
patches of purple and black - so it is easy to tell
when the whites arent right.
the warning for excess luma is also across the entire
screen, not just an area which suggest that
absolutely all the whites on screen are above legal.
You can use any of the image control filters but the 3way is usually the best tool for darn near anything. If your white is measuring over 100%, you need to lower your white point. You didn't mention what sort of video this is as DV has the capability to capture Superwhite which is a luma level of 109% (that's kinda weird, how can anything be over 100%?). Then for good measure apply the broadcast safe filter over all of it which will clip any errant specular highlights.
Zeb

PAL & NTSC: Are they important anymore?

I'm in the market for a new video camera. The model I'm looking at is significantly cheaper in the US, whilst I live in a PAL country. I shoot and edit for the intra and inter webs. I understand that were I to shoot video for broadcasting on TV, PAL vs NTSC would be important but for the web is there any reason why I couldn't shoot NTSC here?

Yeah I've seen that there are a few computer based options but haven't tried them. I've heard that the image quality suffers, but don't know from personal experience.
Cheers

PAL system?

I’m looking at a dvd recorder and want to make sure it will work with my FIOS. It says: “TV Tuner Receiving System: PAL. This unit Records TV/cable programs where broadcasting is in PAL system. (No NTSC Tuner. Will not record NTSC TV/cable programs in USA)”

Where did you get the dvd recorder at? PAL is a video standard used only in Europe and will not work in the US. NTSC devices will only work in the north America. Think of it like DVDs and Video Games, that are region locked. I never understand why there are different video standards, but there is nothing anyone can do about it. You will just need to get a NTSC dvd recorder

Background Colour Change in Windows IE6

Hi,
Have tried to sort this through a CSS forum, but am now
wondering if it's an application problem. I've got a web page with
the background colour set as #FEFFDE which is a very pale peach
kind of colour. I've created a graphic (from a photo) in Freehand
and given it the same background colour. They blend beautifully in
IE and Safari and Mac, but in Windows IE the background shows as a
different colour (pale yellow), although the graphic is fine. It
looks like the CSS is ok, but someone has pointed out thatn doing a
screen capture in irfanview from Opera on windows, the page
background has RGB values 254,255,222 while the background in the
outer parts of the spiral gif image is 251,251,225. Both have been
selected using the cross-application colour palette on my Mac which
still shows as #FEFFDE. Help! I'm pretty new at this so may be
missing something obvious, but would be grateful for advice.
Kind regards,
Steph (NZ)

The best way to do it, if you are using a JPG would be to
make a small
graphic from the background of the JPG image, and use that
graphic as a
tiling background to fill the page.
Murray --- ICQ 71997575
Adobe Community Expert
(If you *MUST* email me, don't LAUGH when you do so!)
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==================
"Gondwanaland" <[email protected]> wrote in
message
news:f4cotd$9pc$[email protected]..
> Hi,
> Have tried to sort this through a CSS forum, but am now
wondering if it's
> an
> application problem. I've got a web page with the
background colour set
> as
> #FEFFDE which is a very pale peach kind of colour. I've
created a graphic
> (from a photo) in Freehand and given it the same
background colour. They
> blend beautifully in IE and Safari and Mac, but in
Windows IE the
> background
> shows as a different colour (pale yellow), although the
graphic is fine.
> It
> looks like the CSS is ok, but someone has pointed out
thatn doing a screen
> capture in irfanview from Opera on windows, the page
background has RGB
> values
> 254,255,222 while the background in the outer parts of
the spiral gif
> image is
> 251,251,225. Both have been selected using the
cross-application colour
> palette on my Mac which still shows as #FEFFDE. Help!
I'm pretty new at
> this
> so may be missing something obvious, but would be
grateful for advice.
> Kind regards,
> Steph (NZ)
>

Data below black level 0 in h264 mp4 files.

I'm a little confused about black and white levels in video.
I have two questions. If you bare with me for a second I can demonstrate what I mean.
I created gradient with values from 0,0,0 to 255,255,255 in Photoshop and saved it as sRGB jpg file.
I imported the file to Premiere and added Fast Color Corrector to the file and changed black input level from 0,0 to 16,0
So now everything below value 16 is cutted to black.
I exported the edited gradient as h264 mp4 videofile.
Now things got interesting.
I imported the edited videofile back to Premiere, added Fast Color Corrector to videofile and changed black output level from 0,0 to 16,0
The information that I thought was lost is there!
I tried to to the same thing for the same video file with Photoshop and I'm not able to get the lost information back.
Why is there information below 0? And how am I able to rescue it with Premiere, but not with Photoshop?
Does this have something to do with YCbCr black and white levels that are 16-235?
This whole question came up when I calibrated my Samsung lcd-tv. I used AVS HD 709 mp4-calibration videos.
There are black level calibration videofile. Which is exactly like my gradient video file where there are black values below 0.
If you lift your tv's brightness below certain levels you are able to see the black values that are below 0.
I'm able to see these "blacker than black" values with tv's own videoplayer and with xbox videoplayer.
However, if I try to see these values with my macbook pro which is connected to tv I can't get them visible.
It doesn't matter if I play the video with quicktime, vlc or premiere.
So the second question is why the macbook pro does not send any "below black" information to tv?
PS. I'm using latest premiere CC.
Thank you in advance!
In this image you can see from Premiere Scopes what is happening.

Does this have something to do with YCbCr black and white levels that are 16-235?
No and yes.
When you manipulate levels values within 0-255 (0.0-1.0) range, you don't clip existing data, you simply compress/decompress contrast, while information is still there (to some extent). By the way, data outside 16-235 range, but inside 0-255 are not super-blacks or super-whites (underdarks or ovebrights), they are just broadcast safe values. Super-blacks or underdarks are values below 0.0, while super-whites or overbrights are values above 1.0. The nature of YCbCr does allow to store some real super-blacks and super-whites even while encoding to 8-bit codec.
Why only some codecs are able to preserve this "illegal" values?
MOV container is... um-m-m... quirky. For example, exactly the same data encoded to e.g. mp4 and MOV with exactly the same codec (e.g. H.264), may be decoded/interpretted differently. So as to have some fun, create a copy of an mp4 clip, which contains some super-whites, rename file extension of one copy to MOV, import both mp4 and fake MOV footages into After Effects, set your project to 32-bit, sRGB or Rec.709 and linearise working space in order to get precise result while blending layers. Then drop both clips into the same composition and set blending mode to Difference. Enjoy!
Why I'm only able to access these values inside Premiere and not with Photoshop. Is Photoshop unable to access these illegal below 0 values?
Try setting Photoshop to 32-bit first. If that doesn't help, then yes, Photoshop clips values outside 0-255 (0.0-1.0) range on importing. Similarly you won't be able to get super-whites or super-blacks back in PrPro with 8-bit effects.
When i export with codecs that can preserve superblacks should I still get rid of them with videolimiter. Do they cause any problems in youtube or broadcast environments?
No. Moreover, you should take care of broadcast legal range in case of delivering to a broadcaster only, YouTube 'broadcasts' on the web and targets regular computer monitors, which operate on sRGB 0-255 range.
why the macbook pro does not send any "below black" information to tv?
That has probably something to do with Apple colour management workflow. Since I'm not on a Mac, I can't comment this on

Sony F55 for Wildlife Documentary

Dear Community, I am planning an important wildlife documentary series and seeking advice on best way to set-up my camera for good post-production colour and final delivery is television broadcast HD in PAL and NTSC. 1. Is XAVC 4K SLOG 3 good enough for my needs or should I invest in a raw recorder and get a 2K raw copy. My issue is spending an addition 7K and backing up many TB.. or get the Ninja Shogun or Odyssey for that 2nd backup drive and get the pre-roll recording the Ninja has in place2. Frame Rate - what frame rate should I choose to preserve best quality and end up delivering NTSC and PAL?3. Lenses - I have the Optitek 1 but find it sometimes hard to use and wondering about what kinds of lenses to invest in as I need long focal length (new Sigma sports lenses) and nice wide lenses. Any advice on lenses and attaching to this camera would be helpful to know4. BCam - I am going to need a BCam for moving shots, dolly, etc. I am thinking about A7sII so any advice on a good BCam for the F55 - sony or canon, etc. Thank you and I appreciate any advice on any one or all of the following as this is an ambitious project and looking for best solutions ... Best, Ari

Thank you again. I appreciate the support on this one. Ok, so my program is for big international broadcasters so consensus is UHD XAVC Slog3Cine is the right format to use for ending up HD TV broadcast. The R5 and 2K raw record as a backup is always good to have to protect the shots for future manipulation and preservation, it's just a question of investing about 10K in recorder, cards and extra back-up solutions. The big dilemma is the lens to use and time in the wild to change glass. These are some options but truthflly can only get one expensive lens (question then of renting vs buying as after 5-6 trips, half the lens is paid for!).So list is:1. Cabrio 4K zoom lenses (2 models): Issue is which one as probably 19-90 is most useful for lots of establishing and some close ups when using a 2K crop and if I go with the 80-300 that doubles the cost and for that price I can buy th enew Canon 50-1000.2. Canon has the CN7x17 which is 17-120 and with 2K crop I can go to 240 when needed - what about adding an extender on that like a 2x or 1.4x and would you get the PL or EF mount? Also 10K lens than cabrio3. Canon also has the nice glass like the 30-300 for the same price (or better) and also 10K less than cabrio4. Then what about some cheaper but cinema zooms made by RED - I see these have good rental prices so would this be a good option if trying to manage budget as I have about 80-100 days of rentals on this project.5. A wildlife veteran filmmaker I know is using the Sigma 50-500 and I was thinking about the new 150-600 which I know seem like cheap glass but his stuff looks beautiful. Sure there are comprimises but if you have a main camera with 1-2 Bcams and want options, having a few lenses gives you other kinds of options6. Then there are these Angenieux (my friend has a vintage25-250 but not sure that would be good) and the new Angenieux zooms are a bit cheaper than Canon and Cabrio but limited to 80mm (160mm in center crop) but with extender can go up a little higher. Too many options but always thinking about what is right for now and good investment for the future? Or just rent best lens and that's that!

Problem in BEx.

It is not possible to use the colour pale blue in any workbook with a BEX query in it! As this is the corporate colour for all our reporting its getting messy moving all presentational tables into new workbooks.
thanks.

Hi Ravi and Gupta
" data is stored in the cube with dcimals
like 6.5,7.5,.....etc...when ever data is in decimals in cube its rounding off to next integer for example 6.5 becomes 7 ,and 7.5 becomes 8."
data type for key figs is "Quantity" and unit of measure is "0UNIT".
in keyfig maintaince bex decimals set to 0.000.
plz. advice
xys redd.

Luma/chroma standards for DVD video

FCPro has the option of doing a range check for both the luma and chroma of your video to ensure that it's broadcast legal. I'm mastering a video for DVD, not for broadcast...are the standards any different for DVD-only video?
Thanks.
G5 Dual 2.5 GHz Mac OS X (10.4.6)

No they are the same, or at least, they don't have their own standards. You'll find that adhering to the broadcast standards will usually give you the best looking picture anyway. They weren't setup for a proper transmission, they were set up for a proper display on TV sets, so that really doesn't change when you are making a DVD to played back on a TV set, right?
Jerry

How to quickly identify which videos have H.264 codec?

I'm now starting to convert my 500-some videos to H.264 for use with iTunes and Apple TV. The first thing I'd like to do is identify which videos are already encoded with the H.264 codec and which aren't. The Finder in Leopard has an option for searching for codecs, but it doesn't search for H.264 (it will only show whether a file is MPEG-4, for example. I could open the iTunes information window for every video and determine the codec that way, but it would take a long time to do so.
What I'm looking for is some kind of software that will produce an immediate list showing which files have the H.264 codec and which don't. After separating the files I will do a batch encode of the non-H.264 files.
I'd appreciate any advice you might have with this!

You simply can't address it (fully).
Quicktime has tons of Gamma issues and if a pc's video card is set to 16-235 instead of full range then VLC will washout video as well.
What I "THINK" Jim is trying to say is that when you use a broadcast grade monitor to check color or a YC-waveform/VectorScope or any scopes for that matter you can make sure that everything is accurate (meaning within correct range color wise). Which means that when people expose your video to other factors such as ... Quicktime which messes up the Gamma of the video often times, and VLC which in some cases with people who don't set their PC's/Mac's video cards up correctly or someone using WMP. Or simply someone watching it on a TV set which is not anywhere close to being calibrated it will still come out looking good anyways in MOST scenarios. IF you check everything on scopes/professional broadcast monitors.
So for instance I work in a TV station and everything I do has to be broadcast legal.So we use scopes and a pro monitor at our edit bay so that we can see how stuff actually looks. Then when someone watches it OTA or on Cable or w/e and they have their TV setup with a ton of extra chroma (color) then in this case for example since I setup my color correctly to begin with it won't look over saturated. Also if someone has a bunch of brightness on their set it won't look bad either. (Unless the TV set is just totally screwed up in which case you can't fix it or plan for that anyways)
But to attempt to answer your question directly. No it won't make it look the same on every player it will simply be much more likely to make it look much more acceptable.
(you can't control everything variable wise)
http://wiki.videolan.org/VSG:Video:Color_nVidia
http://community.avid.com/forums/p/101346/583706.aspx
Obviously though I can't speak for Jim I'm just assuming that's what he meant when he spoke about why you need a pro monitor etc... If I'm incorrect I apologize Jim

Broadcast legal colours PAL

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