Broadcast Safe or Video Limiter?

I've testet Broadcast Safe Filter today.
Compared with Broacast Safe Filter in Final Cut the result in Premiere CC looks a litte bit strange when there are to many highlights in the picture - so you can't use it. Final Cut always did a good job with the same pictures. What's the difference between this two programms and this special filter?
Using Video Limiter seems to make a good Job with same Settings (110% luminace level). Is there any difference to know?

Shooternz has seen some weird behavior with the filter as well. For me it's always worked quite well and fairly invisibly.

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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

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

Should broadcast safe filter be applied before a video transition

A documentary filmmaker who is a client of mine said her video has a tendency to look ragged and not smooth when she applies the broadcast safe filter to a timeline clip that already contains a video transition. She asks whether she should apply the broadcast filter before she applies any transition.

Why not use the 3 way Color Corrector and the scopes first?
x

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 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.

Broadcast Safe

Hello,
I've been searching through Lynda tutorials and adobe postings and instruction manuals for a clear answer, but I can't seem to find one.
I'm looking to make my color corrected video output from davinci broadcast safe with the gfx and everything. I put the broadcast colors effect on my adjustment layer. I was surprised to see the Maximum Signal Amplification was set at 110, with no minimum signal. My impression is that it should be a touch under 100 and a touch over 0.
Do I use levels to pull the waveform under 100 and push it over 0? (there was another suggestion of using levels as an adjustment layer instead of broadcast safe effect).
Also, under broadcast colors, there's 'how to make color safe' luminance and saturation, but it seems either or and there isn't a way to separately control that. Also, is there a way to key what isn't safe in the viewer?
Kind confused here, would appreciate the assistance. Thank you.

The broadcast safe filter is a bit of a catch-all to compress levels, including RGB, White and Black levels. When running close to a deadline I have used it on graphics to bring white levels down. Some on this forum will tell you it's a sledgehammer. And they are right...the 3-way color corrector is a much better tool.
If you use it...it should always be the last filter you apply and in a nut shell it will bring your white levels down, your RGB down and your black levels up such that you will not have "illegal" signals for air on broadcast television stations.

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

Gopro mp4 to prores gets clamped to broadcast safe :-(

I am trying to find the best way to convert footage from my gopro camera to prores. I seem to have stumbled across nastiness.
Gopro footage : 1080p 25fps
Using Prores 1080p 25fps (not proxy, LT etc)
I have tried converting my in compressor. I have also tried rendering the mp4 in fcp 7 and exporting a self contained version prores version for fcp 7. I have tried using compressor 4 (also installed) and moeg streamclip. When I look at the resulting prores video using scopes in either fcp or color it looks like the footage has been clamped to the broadcast safe values. Where pointy peaks should be, there are flat dense lines at the broadcast safe values. Pulling back the highs in a three way color correction revels a reduction in detail, particularly notable in the highlight areas
Through much trial and error, I have discovered that if I convert to prores using the ancient QuickTime 7 app there is no "clamping" and there is significant detail retained in the highlight areas (and darks too). This allows me room to color correct to better result.
It seems qt7 is only thing that will do the conversion accurately.
I have double checked as much as I can. In color for example I do not have "broadcast safe" switched on. It has made me doubt my process and I feel I have gone through fcp and compressor (and mpeg stream clip) as much as I can looking for some sort of similar "broadcast safe" switch.
I obviously don't want to loose highlight info at such an early stage of the workflow.
As far as I can tell, it does not happen when converting to gopro's CineForm codec and highlight detail beyond the legal broadcast level is retained.
I would love to hear that I am missing something about this or doing something wrong!
MacPro 4x dual core
Mountain lion (latest updates)
Note: I have fcp x installed but I am not using this for this job.

Interesting stuff Zebulun.
Something is not right.
Using FCP X to view gopro mp4 at either 720p and 1080p at 25fps shows there is no clamping. FCP X seems to be the boss at handling these files. Ive tested this with the new Go Pro Protune codec (which makes a huge quality difference by the way) as well.
Mpeg Streamclip does indeed seem to do a decent job with 720p. I see no difference between the pro res file from this app and the raw mp4 in FCP X - or a prores converted in FCP X.
Its not quite the case for 1080p though. The version from MPeg stream clip is not exactly clamped but the range seems reduced compared to the efforts made by FCP X.
I don't know what is at the root of all this. I don't think the gopro is clamping anything as it all seems as expected in FCP X. I guess it might be writing dodgy files that confuse other software.
What I feel confident about is that FCP X handles the raw camera footage very well indeed. Even if I end up sticking to FCP 7 for some time I shall be converting Gopro in FCP X.

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 Safe' & Timelines

I am thinking about switching to FCP Express, but concerned that it does not have WaveForm and Vectorscope monitors for uploading footage. The manual says the 'Broadcast Safe' filter will adjust the signals to television legal limits. What is your experience using this filter and did it pass television standards.
And, what is your opinion about all the other 'color correction' capabilities of FCPEx, and how does it measure against FCP.
Also, I usually have opened several Timelines during each project session, working out the sequences. Can I do this with FCPEx?
You can tell I've never worked on FCP; have been a Media 100 person since the 1990's.
Thanks so much.
Bill

In FCE there is no Waveform nor Vectorscope monitor, but you can watch the audio waveforms in the timeline or in the viewer for a specific clip.
You can open and work on many sequences in the timeline; you can also nest them for further editing possibilities.
I cannot answer about the broadcast safe filter I never used, nor about the color correction. It depends what you actually need: FCE has a 2-way corrector while FCP has a 3-way corrector. I'm perfectly happy with the 2-way corrector but you might find it a limiting factor, depending on your expectations.
Piero

Broadcast safe now only works when clips are nested?

Am I crazy or is this true? Just started working on FCP 7.0.2....
Dropped a broadcast safe on a clip. The excess luma still shows in the video scopes. Nested the clip, dropped the broadcast safe on it, now all seems to be fine.
Is this new behavior in 7.0? or, am I insane / imagining things?
Thanks

Strange but true Mark, just tested and see the same behavior here ... I don't generally use the BS filter myself as I've never found its corrections suitable for the specs I need to adhere too (I prefer to legalise manually) so never noticed this before. Odd find.

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.

Which Luma/Chroma mode to use with Broadcast Safe filter

How would I know which Luma/Chroma mode to use with the Broadcast Safe filter? I'm creating a DVD of a dance concert that might make it onto television but there are no specific plans at this time.

As you read their tech specs, you'll see that broadcast standards cover a lot more than just luma levels.
(There's also content! http://www.pbs.org/aboutpbs/aboutpbs_standards.html)
You may want to read the technical standards carefully so that you don't have to
redo a lot of work if you decide to submit.

Broadcast Safe or Video Limiter?

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