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

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Broadcast safe filter problems... help

Hi so I have been up all night trying to work out how to keep my luma and chroma levels in CS6 within broadcast safe for a TVC.
At first all looks fine, apply a broadcast safe filter and presto waveform drops to within safe levels,...but once you render... back to square one.
See screenshot below, broadcast safe filter applied but waveform monitor still gives me above legal levels of 100 IRE???
Any idea's? This needs to be on air this week!

Interesting.
Right now I'm exporting footage using the broadcast filter applied to an adjustment layer. So, while all the tracks below have their own effects, I placed an adjustment layer over the top over everything (track 5 as it happens) and applied the broadcast safe filter to that.
I have no idea what order thiswill get applied, but it's probably worth trying and see if it helps....
It's one way of making the entire show broadcast safe without having to apply it to every clip individualy.

Broadcast safe effect settings for PAL on MPEG source

Hello,
I've been delivered a clip (shot on iphone ((29.97)), edited on Prem CC, exported as a 1920 x 1080 MPEG.
When applying broadcast safe filters I apply two to an adjustment layer. One set to reduce luminance at 99 (IRE), another to reduce saturation at 99 (IRE). When this is applied I get some quite heavy artifacts on high luma sections of the video. In this instance an LED illuminated train timetable, making the destinations/times unreadable.
I've not had this problem before, so I'm guessing it may be due to the clip I received being a 29.97 MPEG? Is there any way to resolve this?

Hi Paulie_LL,
Thanks for posting on Adobe forums,
Please provide following information :
What is the OS and version ?
What is the Graphics Card installed on the system ?
How much Ram do you have ?
Do you use any external Hard Drive ?
Are you using security software e.g. Norton, etc?
Regards,
Sandeep

Colour safe for broadcast help...

Hi all....
Right, not too sure about this one....
Having taught myself coulor corrections, luminance and Gammas etc.... I am now being carefull at my colour levels throughout my sequences, I am left with an issue.
My sequence is done and I am about to apply a broadcast safe filter throughout the sequence to keep my levels below 100% brightness.
But for broadcast I understand that I also need to keep my RGB values below 100%.
I understand that the way to check that those are below 100% is to check the vectorscope.
But that means going through everyframe of the sequence.
Broadcast safe doesn't seem to affect colour? or am I wrong?
Does it just modify the luminance?
Whats the best way to check the coulor levels?
Anyone?
THanks in advance
Steph

But that means going through everyframe of the sequence
yes it does ... welcome to our world
Broadcast safe doesn't seem to affect colour? or am I wrong?
Does it just modify the luminance?
the Broadcast Safe filter does indeed affect the color ... it is just far more forgiving, at its default setting, than perhaps you were expecting. if you try some of the other settings "ultra super duper conservative" etc you might see more appreciably that it is in fact working.
Whats the best way to check the coulor levels?
Use your scopes as you go through the sequence.
Plus, go to View menu > Range Check... > Excess Chroma - make sure it is checked - then scrub through your edit and see if you get any warning flags come up in the canvas.

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.

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

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 warnings

Hello All,
are there out of Broadcast safe warnings in AE?
I started doing some color correction and I don't want to end up with colors that are not safe
Thanks

If you apply the Broadcast Colors effect (Effect > Color Correction > Broadcast Colors), you'll see it has two visulization options called "key unsafe" and "key safe". As the names suggest, these options will show out of range colors only or safe colors only. If you apply it to an Adjustment Layer at the top of the layer stack, it will do so for all layers in your Comp. Bear in mind that these two are visualization options, they don't legalize colors (for that you have the other options in the same effect). However, the Broadcast Color effect does not take luminance ranges into account, so you could use Color Management, or complement the Broadcast Colors effect with an instance of Levels in which Output black is set to 16 and Output white is set to 235.
The thing with Color Management is that there are values which are part of the NTSC, PAL or REC.709 (ie, HDTV) color spaces, but are still illegal because of luminance/channel values. On the other hand, if you use a color space that clips those values to legal ones when processing, it could produce bad results. So the right workflow would be: use SDTV PAL or SDTV NTSC as project working space, and then use SDTV PAL 16-235 or SDTV NTSC 16-235 as output profile, in the Color Management tab in the Output Module. This way, you'd use the full PAL or NTSC color spaces for rendering and legalize the output for the rendered file. Works beautifully. No need to use Levels or the Broadcast Colors effect to legalize color/luminance values.

BroadCast Safe fixed in fcp ?

Hi guys - is it fixed ?
I just had a show knocked back by one of the local broadcasters here.
The stomp was done in AE using the Adjustment layer technique - some technique - STOMP !
I'd obviously rather stick in fcp - can I trust "Conservative" ?
I now have to finish this in fcp 6. Original master done with 5.12
Yes - I'd go to Color, but I'm not up to speed there yet and need more time.
I don't have hardware scopes to be sure.
So can I trust fcp Broadcast Safe at Conservative with Pal material ?
thnaks in advance, as always...

it has always worked for me Robbo, although I always correct shot by shot and only throw the B.Safe filter down as a final just-in-case safety net.
there was some noise at one stage regarding problems with the filter but I beleive they were explained away (or some say fixed in the 5.1.2 update?) ... Shane will know more, I seem to remember he was the one making most of the noise

Broadcast Safe not affecting reds

I've got a clip from graphics which has a big red caption on, going way out of gamut. If I apply the Broadcast Safe filter, set to Extremely Conservative, there is no change in the levels of the reds (nor the magentas). I've tried using RGB Limit, with the same effect.
I thought Broadcast Safe clamped the chroma output, so why isn't it working?
I checked the levels on an external scope.
Steve

Actually you can't really see with Final Cut Pro's scopes or waveform what's the total strength of composite signal in IREs. At least I'am not aware of. So there are some colors (red for example) which can go much deeper in vectorscope compared to some other colors and still being legal.
Did you check the gamut with external NTSCL/PAL gamut display? Because vectorscope can't really tell which colors are legal and which are not.
Broadcast Safe filter isn't working all times but I actually noticed after looking gamut with external scopes that many times when I thought it doesn't do anything, it actually made colors legal although I could barely see any difference with Final Cuts own scopes.
But as everyone else said you should get your colors close to legal (with 3-way CC etc.) and then add broadcast safe. Then it seems to work but for extreme colors it seems to fail sometimes. And I also recommend using both luma/chroma & RGB -limiting because nowadays material can be seen in so many different mediums (lcd, crt, web) that it's the only way to be quite sure it'll look as expected in all the possible situations.

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.

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.

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...

What framerate to choose for: PAL@25p 1440x1080 for Blu-Ray?

Hi there,
I just found some topics that there is no 25p possible for the (PAL) Blu-Ray standart. But I shot my film native in 25p PAL. Now I wanna make a progessive Blu-Ray for PAL Filmfests (like a progressive DVD). So what frame presets would I choose that encore offers me?:
25i (but I don't want the video look since we spend enough time and money on lighting shooting my short;-).
50p (I have no idea what that would make the film look like, probably "fluid" motion like 25i?)
Or should I just use an NTSC preset with 24p (which is closer to 25p than 30p or 50p), since most PAL Blu-Ray players and PAL TV Sets can playback NTSC?
Thanks in advance,
Martin

JSS1138 wrote:
anything interlaced not High Definition by definition
That confuses me. 1920 x 1080 has 30i as a defined standard for ATSC, and 25i for PAL. This applies to both broadcast and Blu-ray specifications.
Hi Jim.
The point I am trying to make is that anything interlaced should just not be called High Definition, simnply because no matter how many pixels there are, it just is not high definition - it's interlaced. You know as well as I do there is far more than pixel count to definition!!!
Martin HJA wrote: So like I said, the 24p thing is the frame rate to go (at least for progressive 25p PAL footage). But the question is, when I start a new Encore CS5 projekt, I have to choose if NTSC or PAL. 24p is only availible in NTSC so I guess I have to just use that projece setting right? (for a PAL 24p version) Or do do I choose PAL and then just a transcode setting that has 24p in it afterwards befor transcoding (custom setting?). In this case, WHAT FRAMERATE do I choose when creating a PAL project (since you have to choose 50p or 25i)? Or does choosing the project setting in the beginning doesn't matter since one can choose different transcode setting afterwards (custom ones)?
Hi Martin.
You have no choice but to select NTSC, even though it is meaningless at 1920x1080/24p resolution, as the only way to do it in 25fps is interlaced, which is written as 50i or 25i depending on what side of the Atlantic you are on. They both mean the same thing, really.
Selecting PAL will only give you access to a frame rate of 25 or 50 which is insanity really. Frankly, Blu-Ray is a bit of a mess all round.

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

Broadcast Safe for PAL

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