TV safe, Title Safe, Broadcast Safe / all other safety measures...

I edit a simple slideshow, two songs and pictures in a DV NTSC 32 Anamorphic Sequence... I burn it to a DVD and looks great on a projector hooked up to a computer, and of course looks great ON a computer... other than slight interlace "waving."
I have the Title Safe checked in the Canvas options, and my type barely overhangs the inner line. On the TV, it cuts off a whole letter on both sides! Am a using the junkiest DVD player and TV combo ever? or am I just not understanding this TV Safe lines.
Clarification... I want a NTSC to monitor playback, but that just isn't an option right now. I KNOW how much I would love it, it's just that I don't have one sitting here right now hooked up. very sad.
What do I need to know about getting a movie off my FCE platform onto a DVD player and TV...
thanks for the replies. great help.

Your issue is most likely related to overscan being out of spec. The overscan is TV related and specified. It should be only relevant for CRT or projection TV's. The borders drawn on the canvas only relate to the TV standards and specifications. There should be no overscan issues with LCD and plasma TVs. The TV is probably out of alignment or maybe an old/poorly designed CRT set with high voltage power supply out of control. Projection TV's usually have adjustments that can bring them into spec either mechanically or electrically. If the TV has a poor power supply, the overscan will vary with line voltage. Your DVD is most likely o.k. Overscan was actually desirable on TV's, because people do not like black borders around the picture. As they add text (titles, subtitles, etc.) the overscan needs to be controlled. It gets even worse if text is added from computers. More modern sets from reputable manufacturers are pretty strictly controlled to have overscan, but not too much of it.
Here is a reference:http://en.wikipedia.org/wiki/Overscan
Message was edited by: ComPH1
Message was edited by: ComPH1

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TS1381 My left arrow does not work on my macbook pro(model A1226). I have reset nvram, performed a safe boot, pulled the cache to desktop, replaced .globalpreference.plist, test all other keys with keyboard view (all others work) - HELP!!

My left arrow does not work on my macbook pro(model A1226).
I have reset nvram, performed a safe boot, pulled the cache to desktop, replaced .globalpreference.plist, & tested all other keys with "keyboard viewer" (all other keys work except for the arrow).
In addition, I have gone thru all the recommended checks with universal access and have booted from snow leopard dvd and the left arrow still does not work.
I have tried using the left arrow key in all of applications I use such as: excel, ms word, address book, calendar, iphoto, terminal, & highlighting an icon and using the arrows to move to another selected icon.
Here is the kicker! In addition, I purchased a logitech solar bluetooth keyboard and the arrows work fine with my ipad but do not work when paired with the macbook pro. All other keys work fine on the macbook pro using the bluetooth keyboard.
I believe this says that the problem is not in my macbook pro keyboard. So where can it be?
Can anyone think of any other rabbit holes I can search?
thanks and regards
vats3

I would also like to add that I've reverted the two cd drive and hard drive mods I did and the laptop is back to factory hardware and there is 0 corrosion or mold visible.

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.

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

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 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 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?
Thanks

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.

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.

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

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 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.

Excess Luma Warning - Broadcast Safe?

I've been applying a Broadcast Safe filter to several clips in my sequence.
I adjust the parameters til the excess luma warning changes to a nice green checkmark and then render the changes.
When I play back the sequence though, the excess luma warnings are back!
What's going on?

The only real advantage to the Broadcast Safe filter is in reducing the white levels. It's function is essentially to bring them down to 90%. That may prove helpful if you're importing some graphic in from Live Type for instance.
But overall Jim is correct (again) you are best to use the 3-way color corrector.
If you've never used it, it's worth the read. The basic shorthand is always start by bringing down the black levels, then adjust the white. Use the eye dropper to find a true white in the scene etc. etc. Read up on it, do it a few times, you'll love the results and find you want to use it all the time.

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

TV safe, Title Safe, Broadcast Safe / all other safety measures...

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