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.

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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 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.

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?
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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 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
• one of the presets (Conservative, Extremely conservative, etc) Then the plugin will use PRESET settings. It won't have a look at the sliders (iow, you cannot tweak a preset). Nor will it update the value of the sliders.
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

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.

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

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.

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...

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 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

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.

Urgent-Broadcast safe question

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