Broadcast safe and Text

When I use title 3d or the regular text in FCP I get the red broadcast safe warnings. Do I have to render eveything out to QT and import it back and apply the broadcast safe filter? Or is there a way to do it in the text settings?

You should be able to bring down the level of the whites by choosing a slightly less "bright" white as your text fill. Try it and see if it works.

Similar Messages

Broadcast Safe and LiveType

I'm going over a sequence in FCP (latest version) and am applying the broadcast safe video filter to my sequence. The first clip contains some LiveType text superimposed onto the background movie. I used the range check and it detected some excess chroma and luma.
When I attempt to apply the broadcast safe filter to this clip the canvas says "media missing livetype file." Well, I can see the file in my browser and in the source disc (internal hard drive). When I undo the filter, the canvas can see the file.
So, is it not possible to add a broadcast safe filter to livetype segments?
G5 Dual
3gb Ram
200Gb HD
Mac OS 10.4.9
FC Studio
LiveType (latest)

Nevermind. Apparently I was importing the .ipr file instead of the rendered .mov file. After rendering it into my sequence, I added the broadcast safe filter and it rendered fine.
My only question is the Apple Pro Training Series book (Final Cut) says to drag the rendered .mov file into the timeline and onto the clip that needs the livetype text. However, FCP won't allow me to do this. It either moves the rest of the sequence over or deletes the original clip. The only way it works is if I double click the .mov file in the viewer and drag it into the canvas and select superimpose.
Any reason why I can't just drag it into the timeline directly?

Broadcast/SD Titles and Text: Workflow

I'm curious what, when doing Broadcast Titles and Text, is your workflow.
Do you exclusively make slates in Illustrator etc.? Do they look significantly better and function better for Broadcast product than making same in LIveType or Motion. Is there a big quality advantage in Vector based Titles/Text
Do you make any of your Titles/Text in LiveType or Motion.
Is there another workflow for high quality Titles/Text you would recommend?
Thanks

I've used both LiveType and Motion for titling some very large QuickTime files (1440 x 900 @ 25fps) and the quality is perfect. As high a quality as you could ask for.
I can understand the rationale for saying that Illustrator would give better results that PhotoShop (vector vs. raster), but if you're working with the native LiveType file in FCP you're still in a vector environment (at least I think so - anyone care to comment?).
It's the same argument for using vector-based files rather than pixel based ones for DTP applications that are going to be printed by a commercial printer: The printer's RIP rasterises the file just once at the correct imaging resolution.
To my mind, a vector is a vector: I can't see how Illustrator can give you 'better' vectors than LiveType or Motion - if you're using FCP to 'RIP' either of the original files to pixels, that is. Perhaps using a 3rd party rendering engine would give you better quality, in the same way that different PostScript RIPs give better quality than others.
Maybe that's the reason why some people use Illustrator - as the non-FCP RIP can't handle native LiveType/Motion files?

Broadcast safe destroys my HDV clip??

I am color correcting a feature shot on HDV and came to a clip that looked really bad finally turned off broadcast safe and the clip looks fine. Anyone know of a solution? I will need this project to be broadcast safe.
Thanks, Mark

Not to disagree at any level, but I find I use the Broadcast safe checkbox as a rule - just to provide a safety clamp that obviates the need to use our HD legalizer, which I think is a bit noisy. Of course it's not a grading tool as such - the whites always need to be assessed and levelled - but it means I can drive them a bit harder on occasion knowing I won't overshoot. The effect on a properly graded image should be imperceptible.
If on the other hand, an unclipped image "looks right", and a "safe" image looks horribly clipped, it's a sure sign that monitoring etc is going all the way to IRE109 - a very bad look.

Broadcast safe blacks and whites - Premiere CS4 - How to get?

Hi. I recently had a fellow editor over and he saw some of my footage and mentioned that my whites were too bright and to make sure that they were broadcast safe before exporting them. He didn't know how to do it in Premiere as he uses Final Cut. He said that Final Cut does it automatically. Does Premiere Pro do it Automatically?
After mentionng it to me, I did notice that my whites were quite bright. Below are some examples.
These are two frames taken from the timeline of a sequnce which had already been exported as an AVI.
Here is some information about the system I use:
Once I found out how to do it, is there a way I could quickly apply this to a whole sequence of clips? Do i need to play around with it for each individual clip?

yes, the tv and computer monitor will look different...probably why you thought the whites were OK when editing on computer.
I use CS3 so your version may be slightly different ....
im gonna put up some images to illustrate...
you can use broadcast colors (effect )...drag onto clip ...and see if that works OK for you ...
export a small sample of product ( shrink work area to do small sample ), burn dvd and look on TV...only way to see if its working...can use dvd RW if you want and your dvd player can play dvd rw.
if broadcast colors doesnt work well for you, you can also use the OUTPUT on levels...which is normally 0 and 255...black and white...
after you click "OK" on the levels menu you see in sample is when you see change in program monitor...( in my version cs3 )..you wont see change until you click OK, except for in the little tiny window of the levels box....
I personally use the levels adjustment (output only ) more often than the broadcast safe colors for WHITES...

Color scopes and Broadcast safe

In the process of experimenting, I have sent 100% bars ( 8 bit Uncompressed PAL) from FCP to Color. The first thing I noticed is that when ‘broadcast safe’is enabled, it clamps the signal quite harshly especially round the mids area. The waveform monitor (and an external Techtronix 601 A Scope) confirms this with the luminance levels of Magenta and green being almost identical. Same result when clip is imported rather than 'Send to'
The weird thing is that when I disable broadcast safe, this restores the bars to how they should look and the external scope displays correctly but the internal scope in still incorrect.
Why is 'broadcast safe' having such an affect on Bars and why are the on board scopes vastly different to external scopes? Any insight greatly appreciated.
Color 1.0.2
BM Extreme
Mac Pro 2.66 10.4.11

The answer might be in your post.
You say you sent "100% bars". If this means 100% saturation, Broadcast spec is 75%, at least in good old NTSC. Just don't start it... that's what SMPTE sez, I didn't make up the rules.
And COLOR's "broadcast safe" will chainsaw the image at whatever you set it to in the "Broadcast Safe" settings dialog. I pine for the good old days of the Hewlett Packard QA103, which rolled off quite nicely, but that product is no longer manufactured and was SD.
Your external scopes are probably calibrated to 75%? I'm puzzled, though by your observation that it is clipping/compressing the "mids"? Do you mean the middle of the screen geometry-wise, or the middle of the waveform, ie around the 50 IRE level? How would it do that? I'd be interested in what its doing to yellow, which should be the highest luminance bar.
The other thing is that Color Bars do contain levels that are considered outside broadcast safe in RGB, but not in YCbCr, and this may be another contributing factor.
jPo

Broadcast safe levels and DVD output

Some of my video levels are above 100 IRE. I am only outputting to DVD or Blu-ray, never broadcast.
Should I compress the dynamic range down to broadcast safe, or leave the slightly higher dynamic range?
I think that this is probably a question of how FCP, Compressor, and the DVD or Blu-ray plays handle 110 IRE. All the video I am referring to is HDV and the over 100 IRE is in the original captured video. I understand that I need to set the RGB to YCbCr conversion in the sequence settings to match my output strategy.
All my sequence renders are to ProRes.
Obviously, if I use 110 IRE as my max output level, I don't what it clipped somewhere down the path.
Thanks
Rick

IRE is an analogue video measurement. It is only applicable if you are transferring to analogue:
http://www.kenstone.net/fcphomepage/video_levelsnattress.html
8-bit digital video uses a level of 16 for 0% and 235 for 100%.
So you are talking about levels that are above 100%, a.k.a. superwhites.
Since ProRes is 10-bit, the digital code numbers are different,
but superwhites are still luma values that are above 100%.
Although DV-type codecs can handle superwhites, DVD encoding does not,
so it would be safest to eliminate them by using the Broadcast Safe filter
set to 100%, even though you're not broadcasting.
Clamping your superwhites may cause you to lose highlight detail.
For that reason, you should color-correct to bring the highlights
down to below 100% (while looking at the Waveform Monitor)
and then use the Broadcast Safe filter as insurance.
That way, you can determine how you'd like the highlights to look,
instead of just letting them get all set to 100%.
If you're doing a lot of color-correction, the extra resolution
will be useful. Just be sure to get things below 100% for output to DVD.

Video filters became disabled. video in timeline reverted back to glowing images. Broadcast safe button does nothing. Black and white went back to color. what happened to my video filters?

video filters became disabled. My timeline now shows video in pre-broadcast safe look. black and white video went back to original color. video filters not responding at all. what happened?

First thing to do is reset your fcp preferences
https://discussions.apple.com/docs/DOC-2491
Have you done any software updates or installed any new software recently?
What format are your sources and what are your sequence settings?
Here are some other troubleshooting tips
https://discussions.apple.com/docs/DOC-2591

Is "Broadcast Safe" necessary if the output will never be broadcast?

I'm doing a project whose final output will be a set of DVD's which will never be broadcast. I really like the color look I've achieved for my clips, but when I check my scopes, they're outside broadcast safe, both up and down. If the output will never be broadcast, do I need to adjust these for broadcast safe?
Also, to get the best for the output, which settings for YUV, etc. should I use to have the DVD's match what I'm seeing in FCP?
Just a bit of additional information, I'm making the assumption that most if not all of the ultimate viewers of the project will be viewing it on modern HD sets. Does that also make a difference to my final output settings?
Thanks.

You must view FCP's output on a calibrated, professional broadcast monitor to assess the "look".
Computer monitors do not provide a true indication of how your movie will appear on a consumer television.
Try to find two consumer televisions that are accurately and identically adjusted. It is very unlikely.
While there is some degree of tolerance and there's not much chance of you blowing up someone's TV these days, you should at least use the "Normal" settings in the broadcast safe filter.
As an example. whites and yellows that are too bright can "crossover" and cause an annoying buzzing sound in the audio as well as being unpleasant to look at.

HELP! Fuzzy images and text in Muse

Hi
I am going to preface this post by admitting that I am a complete amateur, just trying to create a simple but work-able and professional looking website for my business.
I am new to Muse (previously used a similar program to create my sites) and have found navigating around the program quite easy. BUT my whole site looks fuzzy.. In 'design' mode and also when previewed (both in Muse and in browser).
I would really appreciate any help that you could give me. If there is a way to upload it to a temporary site for you to give me advice? Or if I can send the .muse file to someone to check for me?
Thank you very much in advance, I really appreciate it
Lauren
Here is a screen shot of the home master when previewed in Muse - you can see the logo, menu, background and text are all fuzzy...

Please click "Publish" enter a name for your site and click "OK". This will create a free temporary website on Adobe Business Catalyst. You can then post the URL for that site here for the community to look at.
A couple questions:
1) I expect you're on a Retina Mac?
2) Text appears to be images or System fonts? Whenever possible you want to use a Web Font. If none of the Web Font choices fit your need, then check the "Web Safe" fonts. If you still come up dry, then use a System font as a last resort. When using a system font Muse will convert it to an image. This will result in slower page load times in the browser and (in some cases) lower quality rendering of the type. Whenever possible, if you use a System font, you'll want to set the fill on the text frame to be opaque (a solid fill color, 100% opaque gradient or 100% opaque image that fills the complete text frame). If the text frame contains any transparent areas, then the image version of it will have lower quality anti-aliasing, edges, on the type.

How to adjust broadcast safe filters correctly (Filter currently compromises picture)

Hi guys,
Can anyone explain to me how to use the Broadcast Color filter properly? Before, when I was using FCP7, I just slapped on the Broadcast Safe filter and the edits passes the QC every time. Now we've moved to Premiere Pro CC and I added the filter twice, once to set the luma and once to set the saturation (both default at 110). The problem is that it completely changes the picture. I get banding and the colour is noticeably clamped. I've been working a lot with animations recently, so dealing with a lot of super saturated and bright colours. If I set the broadcast filter to both 120 on luma and saturation, it doesn't look too bad. Does anyone know at what number in the broadcast safe filter, will the become colour become not safe? Can I get away with 120 on the luma and sat? Please see images below:

I never use that BC Filter!
Test showed me its un reliable and it degrades the image. Basically it uses a "keying" type approach and this can leave some very nasty visual remnants ( patches).
I use the traditional method of working with scopes ( Luma and RGB Parades) and levels ( Levels Effect) and processing in various CC Tools.
To legalise color I work on the individual chroma ( RGB Channels). Red is usually the culprit that needs fixing.
The Levels Effect will automatically clip Luma. I generally drop Whites to 95-98 to be safe.
Unfortunately in PPro or Speedgrade...there is no soft clipping available . THere is in Resolve.

Video Track for Broadcast Safe

I I have a project that has a duration of 28 minutes - is there a way to insert in one of my empty video tracks above the existing clips - a continuous (28 minute) empty track in which I could dump a Broadcast Safe filter and control that function globally vs. each individual clip?
Thanks

Set in/out at head/tails of the timeline, select all and go to...Main Menu/Sequence/Nest Items.
The nested sequence will be a single bluish/purplish video track with aqua audio.
With that nested sequence open in the timeline, option-click on the video track and apply your filter...or drag it to the video track from the effects tab of the browser.
If you just dbl-click it in the timeline, you'll open the original sequence will all layers showing.
Hope that helps...gotta run.
K

Urgent-Broadcast safe question

Hello everybody,
For the first time i have a project for french TV.
I don't know how i have to configure the broadcast safe. The production gave me the standard broadcast but i don't know what i have to do in Color.
The broadcast safe's parameter in color are : Celling IRE, Floor IRE, Amplitude, Phase, Offset, Chroma Limit and Composite Limit.
But i received none of thoses informations. They gave me ununderstanding parameters such as :
Coordonnées de chromaticité (CIE, 1931) Couleur primaire
Rouge (R) Vert (G) Bleu (B)
x 0,640 0,300 0,150
y 0,330 0,600 0,06
sorry for my english. I'm french. Does someone can help me to configure my broadcast safe ???help
Thx

This is not something you can really explain on a forum post. I mean, there is a whole profession out there that's sole job is online and making shows meet broadcast specs. This is something that was taught to me over the course of a week...with another week of them looking over my shoulder.
Hire someone to online and ensure it falls within broadcast specs. Then find a place that will train you, if you want to know how to do this. It isn't as simple as dropping in plugins or sliding a few sliders. Just understanding what the specs are takes a bit of time.

Font and text handling in iWeb.

Hello, everyone.
How are fonts and text handled by iWeb ? I am now working on a website and have chosen to work with Gil Sans as one of my primary fonts.
Is this font included as default in a standard installation of Windows ? What about OS X ?
In case I create iWeb pages using this font what will happen when I publish these pages ? Will they be preserved as text ? In this case how will this font be handled by Windows and OS X ? Will the OS's replaced the absent font with another one ? What would the selection of a replacement be based on ?
Or will iWeb replace the text created in Gil Sans with an image of the text to ensure that the display of the web page follows my intended format ?
Thank you in advance,
Joseph

Here is a list of websafe fonts:
http://www.ampsoft.net/webdesign-l/WindowsMacFonts.html
You might want to google 'web safe fonts' and compare other lists to that one just to check.
1. I think you're talking about ALT tags. You could do this as a workaround but it would still be slow loading, and search engines would index it as images, so your text would appear in Google images for example. You might also want to consider whether anyone might need to copy and paste any of your text at some point, and whether you'd ever need to print pages (they will be more ink-intensive and lower quality).
2. You can embed fonts in your webpage; however this only works on PCs and Macs running Windows: http://www.sean.co.uk/a/webdesign/embeddingfonts_inwebpages.shtm
Another way around it is to offer an install of the font (check it's shareware and don't forget to offer both Mac and PC versions) and recommend to your visitors that they install it.
Also remember that whichever font you use, a visitor may have altered their browser settings to display your text differently anyway.

Broadcast safe filter for DVD - or no need?

I'm getting a bit confused here and hoping someone can help here
I shoot with an EX camera and generally edit in 720 50p prores. My output is currently SD DVD and web.
Do I need to put a broadcast safe filter on or will the process of turning it into a dvd automatically clamp the levels for me.
I notice when using Colorista 2 the RGB levels are clamped at 100%.
If I were to use the FCP RGB limit filter would I achieve the same result
(I don't always like the broadcast safe filter as it gradually reduces the luma - Hard cut off is fine)
I think most people will watch my dvds on new HD LCDs or Plasmas. So I'm not too concerned about old CRTs.
Any thoughts or advice
Thanks steve

The company I go to for mastering suggests the RGB limit filter for dodgy shots and not the "broadcast safe" one, and I listen to them. By the way, I've been going there for years here in LA and Greg, the boss, will always "work with you" on price if you are an independent. I can give you the phone number if you wish. They are very helpful but I think it's kind of against the rules to give the appearance of advertising on this site.
Private message me if you want further info etc.
Best wishes,
Harry.

Broadcast safe and Text

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