Squeezing Into Broadcast Safe

I have a pretty nice commercial and the frames are nice. However, I wish that i could get more into view safe.
So has anyone ever reduced scale to get 5-10% more of the frame into view safe? and were there any problems?

The problem is you will have black surrounding your frame should you scale it down. With CRTs becoming a thing of the past, safe action/title is not as critical as it once was, so maybe best to leave well enough alone.

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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.

Does the Broadcast Colors filter work? How to get a broadcast safe production?

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

Can you make a clip "broadcast safe" within Compressor

Hello, I've had a bunch of QT clips I exported to Mpeg files using Compressor. When watching them on a television the bright whites are causing audio buzz. I can take them into Final Cut and apply the Broadcast Safe or Color Safe filter to fix that, but is there a way to apply the same effect in Compressor to save time?

Sorry. Compressor doesn't have that filter.

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 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 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

Hi, I have a MacBook Pro on Maverick. I recently got squeezed into an iPhoto upgrade, all photos for 2012/13 have gone. It tells me I have 17000

Hi, I have a MacBook Pro on Maverick 10.9.1. I recently got squeezed into an iPhoto upgrade I didn't want to do. When it had finished, all photos for 2012 -2013 had disappeared and instead of it saying I had about 6000 photos, it now thinks there are 17000+ despite there being about half of them missing? And no, I didn't think I would need an upgrade.
I may have back up these onto a time capsule but the voltage I am getting at the moment (Tanzania) isn't enough to start it up to check. My feeling is that they are still on the nard disk and can be rescued. But how??? Thanks

To be safe from automatic updates that you do not want, i.e., on a slow network, change your System Preferences for the AppStore. Disable downloads in the background and automatic install, and leave only security updates enabled, so you do not miss them.
When it had finished, all photos for 2012 -2013 had disappeared and instead of it saying I had about 6000 photos, it now thinks there are 17000+ despite there being about half of them missing?
What exactly did you do, after iPhoto updated? This looks, like you imported your iphoto library instead of upgrading it. If you cannot find the original library, you really should try to restore the library from the backup. How long will it be, until you get to a better power supply?
Do you keep your iPhoto library on an external drive or on your system drive?
Try to search for a file called "Library6.iPhoto". This file is part of any iPhoto Library. To search your entire mac download
Find Any File , as described here in Old Toad's post:
Re: Where is my iPhoto Library? It is not in my Pictures folder, and I cannot find it through Finder. Help!

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.

Font is blurry, works if I go into firefox "Safe Mode"

It's not the font on the text that I type with, but the Address bar, Bookmarks(Include the images), so everything above the tabs(Include the tab text/images), and the right click menu. If I go into Firefox safe mode it all works fine, I have tried to disable all addons but the problem is still there.
Edit:
Tried to Reset firefox to default, didn't work. Uninstalled firefox and removed everything, didn't work. Downloaded firefox portable from portable apps, works, but I don't want to have it portable.

Also, you can try to right-click and '''Toggle''' the key '''gfx.font_rendering.directwrite.enabled''' to '''false''' in [http://kb.mozillazine.org/About:config about:config].
# In the [[Location bar autocomplete|Location bar]], type '''about:config''' and press '''Enter'''. The about:config "''This might void your warranty!''" warning page may appear.
# Click '''I'll be careful, I promise!''', to continue to the about:config page.
[http://kb.mozillazine.org/About:config_entries about:config Entries]
The [https://services.addons.mozilla.org/en-US/firefox/discovery/addon/config-descriptions/ Config Descriptions] add-on adds helpful source comments in about:config.
[https://hacks.mozilla.org/2010/09/hardware-acceleration/ Hardware acceleration]
[https://support.mozilla.org/en-US/kb/Options%20window%20-%20Advanced%20panel?as=u Advanced]
[https://support.mozilla.org/en-US/kb/Safe%20Mode Safe mode] also disables hardware acceleration and themes in addition to extensions.

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.

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.

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.

Squeezing Into Broadcast Safe

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