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.

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Look at the color correction part in the Inspector.
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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

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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Hey guys ~
Have searched around a bit but haven't found much info on this subject. One of my films just signed a distribution deal (go team) and I've been in the process of submitting my deliverables. The company I've been assigned to for QC uses FCP7 for their preliminary check, and if that passes they send it on to a more rigorous test to ensure legal broadcast levels.
I'd like to keep everything in PP, but here's the deal. I export my film with PP CC to a ProRes HQ file using the "Broadcast Colors" filter set to an IRE of 99 (just to be a touch on the safe side). I was happy because I thought the final product looked even better and retained even more information than the Broadcast Safe filter in FCP. Only the catch is, when I import the final product from PP into FCP7 to see the results that they are going to see, there is a consistent "red" warning on contrasty shots... some are totally outside of the FCP7 broadcast safe scopes.
I've succumbed to jumping back to FCP7 to do the final on this just to make sure it will pass inspection, but I'm curious if anyone has had any experience with this? What's the correct way that I'm missing to use PP CC to make sure that you have a finished product that is safe to put on the airwaves? Is the PP CC Broadcast Safe filter reliable for professional delivery specifications?
Thanks in advance for any help...

Is the PP CC Broadcast Safe filter reliable for professional delivery specifications?
I dont think it is flexible enough and never use it.
Simplest way is to apply Premiere 'Levels' effect.
You will note an "automatic" level clip at 100% and then its easy to set White RGB Out at say 250 and fix any Color Channel Luminance issue..the same way.
Then of course..Blacks.
FWIW - I use an Adjustment Layer to do this usually across the entire sequence

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 filter??

Hi all I have a question I have a delivery due friday of three shows the audio is all over the place, the delivery is broadcast, the only audio tool I have is soundtrack, does soundtrack have broadcast safe filter?
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Yes, it is acceptable, AFTER you have done extensive work with the 3-way CC to adjust things, if there are still spots that are too hot to add teh Broadcast Safe filter. It clamps down the hot spots.
Just as long as you color correct first. We are sticklers for that here.

Which Luma/Chroma mode to use with Broadcast Safe filter

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As you read their tech specs, you'll see that broadcast standards cover a lot more than just luma levels.
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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...

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I see your question and wondered about it.
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Using a D800 and CC PS 14.2.1 x64 and latest Camera Raw 8.4.1.200 I opened the lens correction filters.
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Manufacturer: NIKON
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I am now piqued to know.

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.

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See my reply to this question in your original thread:
http://discussions.apple.com/message.jspa?messageID=11675339#11675339
Please try to keep all your responses in the thread that you started there. It makes it much easier for the folks who are trying to help you, keep track of what has already been suggested. Thank you.

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 filter settings

Hello,
I applied the broadcast safe filter to a PNG file (logo) that has excessive whites. However, when I switch - what I believed were presets (130 / 120 / 115 / etc.) nothing changes and nothing happens at all actually!
The only thing that seems to do anything is when I dial the Max RGB Output level switch...

Max_Iqueu wrote:
Yes. I am looking at the scopes and "nothing" is happening.
Then the question rises:
What are the maximum values in the scope? If none of the levels is exceeding the 100 you don't have a problem.
Also the values (numbers in the filter) don't switch.
The values will not swith. The top button 'Luma Chroma Mode' swithes between
• 'CUSTOM - User Control Below' Which will let YOU control the sliders
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The language the plugin is written in (FxScript), just doesn't provide feedback to the sliders.
So it's either using one of the presets OR select CUSTOM and play with the sliders
I was wondering if it was due to the PNG file type? ...
No. .mov or .png it's all the same to the filter

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

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