Video levels filter

I'm curious if there's a filter that will analyze a clip and set a consistent level for the video. For example, we have several clips of a teacher at a whiteboard and as the teacher moves around the board the light level/intensity changes so that white on the board goes up and down. I'd like to try and even this out in the same way that you would use a compressor on an audio track to provide a more even range of amplitude. I guess I could keyframe it but that would really be a pain. Any ideas?

Get FCP-X. With one click you can match the shots. In FCP, you need to use the 3-way, and eye-dropper the white on both, and the black on both.

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Video Levels ...

Hello All,
Much like the exposure setting button on the front end of a normal broadcast ENG camera, does FCP have such a setting? I'm trying to boost the video level in a dull spot of a sequence but the normal brightness and contrast FCP controls simply don't do it for me ... does anyone know of an overall video level adjustment within FCOP?
Thanks for your time and expertise.
sp

FCP Brightness and Contrast is virtually useless.
Try to use Color Corrector 3Way (Effects>Color Correction>CC3Way).
However, in your case I'd use a filter of mine, which imho in many occasions simply works best .
It is called Luca's Image Adjust and it is free.
here it is:
http://www.videonline.co.uk/LucasImageAdjust.htm
there's a video demo you can watch as well,
The parameter that should be the most handy for you may well be Lighten & Saturate.
Best,
L.
I may receive some form of compensation, financial or otherwise, from my recommendation or link.”

Video Level Shift During Edit To Tape

I have a program that was originated in 720p-24 using the Panasonic HDX-200. During the color correction process, I adjusted the output video levels and saturation. I also added the 'Broadcast Safe' clamping filter. When I play the video back in the suite, everything's legal.
But when I edit to tape... the video levels are back up above 100 IRE. Am I missing a setting somewhere?
Tim Walton
KVIE Public Television

No Response

Query level filter not working in Webi report

Hi All,
I am using BOXI R3.1 (SP3), m facing one problem when refreshing Webi report on daily basis. I am using three query level filter as a prompt, but i checked one filter is not working then i need to reapply this filter and rest 2 filter is working fine.
Can anyone suggest me why problem is coming?
Regards,

Hi,
Prompts are interactive, and come from the query panel. Filters are not interactive, and are set on the report or block. There are also input controls, which are interactive filters
1. Select the universe in the list of universes to open the Query Panel.
2. Drag the Year object to the Result Objects pane.
3. Drag the Number of Guests object to the Query Filters pane and create a report filter that restricts Number of Guests to greater than n.
4. Click Combined Query.
The Combined Query pane appears in the bottom left of the Query panel with the two queries joined by UNION.
5. Click on the second query and remove the Year and Number of Guests objects.
6. Drag the Reservation Year object to the Result Objects pane.
7. Drag the Future Guests object to the Query Filters pane and create a report filter that restricts the future guests to greater than n.
8. Click Run Query.
Best Regards
Naveen

ATV2 Video Levels

Guys,
I'm the proud owner of the ATV2, and I'm loving it!
However, when connecting to my Samsung TV set, it shows elevated grey levels.
My SUSPICION is that the ATV2 has normal (limited) video levels from 16 to 235, but it signals to the TV it has full range video levels (from 0 to 255). This can happen when the range setting in the HDMI AVIInfoFrame is set wrong.
This statement is not based on measurements, but only based on the fact that my Samsung TV has not yet made any mistakes there, yet. Perhaps, if I find the time I will connect an analyzer.
My TV has deep blacks (Samsung tiled LED backlight), but only if the signal gets low, too.
Lucky those who are able to override this manually in their TV connections settings. I can't.
Anybody else with the same experience?

Thanks, sound a lot more complex but I will give it a go. Are there any decent online tutorials you can recommend? Does this do gamma as well as sort out levels?

Visualizing video levels (oscilloscope or histogram)

I'm an old television engineer, and I'm used to seeing video on an oscilloscope so I can adjust the brightness and contrast to get proper white and black levels. In FCE, it appears I have to eyeball the video and guess about the dynamic range of my content. There's no objective measuremnet tool. A histogram would help. For example, how can I tell if I'm clipping the whites? Am I missing a simple way to visualize the video levels?
iMac G5 (B) 20-inch Mac OS X (10.4)

Jeffery, FCE has no scopes on its own. There may be plug-ins, I'm not sure. You can search Version Tracker. I believe Final Cut Pro has Scopes, not sure how useful they are.
Ian, I wish I was in your situation. As a freelance editor for several wedding studios, I am often forced to work with some very sub par footage. Many of the cameramen involved have fairly hi-end, 3 chip cameras ... and I am often struggling with bad focus, bad lighting, bad contrast, etc.
Eyeballing is how I go about it, but I find FCE's Color Corrector my useful tool. When I find a shot that actually has the proper contrast and color temp for the scene, I use that (and some tweaking with the Mids) to color match the funkier shots.
Too bad that hi-end equipment does not always equate to hi-end product. Oh well, that is what they pay me for

Video Levels cut of at 100%

It seems that working in Speedgrade with videos that have a higher video level than 100% the video level is cut of at 100% and you loose all information above 100% video level.
In Premiere the video levels could be brought back to 100% via the Luma Curve Tool by just lowering the brightness point in the upper right down a bit and when looking at the waveform monitor you can see where your gain is going and can adjust that viusally.
As there is no Luma Curve Tool in Speedgrade, there is no way to bring back video levels to 100% and there is no other Tool in Speedgrad that can adjust that.
As a workaround I adjusted the camera to record only to max. 100% videl level. But that cant be the solution.

Thanks for the info, but I already tested the Gain Settings in Speedgrade which just lowers what is left from the import (the original recorded ProRes movie file).
The Video Levels of imported movies into Speedgrade just cuts off the highlights that are over 100% to exactly 100% - no details coming back down from the overexposed whites when lowering the Gain with the "Primary" Color Grading Tool.
As in Premiere, the Luma Curve gets back slightly overexposed highlites that are over 100% and you can see that in the Waveform monitor in Premiere.
http://ntown.at/Images/HighlightsSpeedgrade.jpg

Video Levels and Deinterlacing

I have been trying out Premiere Elements 10 and had a couple of questions. First, if I take AVCHD footage and check the video levels in Premiere Pro, it seems to indicate that the video is 0-255 on the RGB scale. Is there any way to test or see the video levels in Premiere Elements 10? And am I correct in assuming that Adobe converts AVCHD to 0-255, as opposed to Sony Vegas, which does 16-255?
My second question involves deinterlacing. Is it necessary to select the field options - deinterlace option when rendering web video like WMV, MP4, and FLV, or will Elements do this auotmatically? If I need to select deinterlacing, does it need to be applied on a clip for clip basis, or will selecting it under clip - video options only apply it to video that needs it and not deinterlace, say, a still picture in the timeline that is already progressive? In other words, if selecting deinterlacing is necessary for web videos, does doing so at the clip level cause any quality loss to progressive still images in the project?

Though PrPro offers many CC Effects, right now, many use AE for Color Grading. However, things might change. Here are some recent threads on what Adobe is planning:
http://forums.adobe.com/thread/938287?tstart=0
http://forums.adobe.com/thread/939053?tstart=0
For the vast majority of my work, I use PrPro, and AE. Remember, PrE is not a "pro-level" NLE, and is basically designed for DVD/BD, and then delivery to sites like YouTube. There are few, if any, broadcast functions in it.
Good luck,
Hunt

Video levels question

Hello,
As a new Premiere CS6 user I'm a bit confused about the way it handles video levels when compared to Sony Vegas.
In Sony Vegas I'm used to 16 RGB being video black (0 IRE) and 235 RGB being video white (100 IRE). This is what I understand as studio levels which is the range most professional video cameras like my EX1 record in when properly exposed. During editing if I design a graphic either in Photoshop or Sony Vegas I input 16 RGB for pure black and 235 RGB for pure white. This graphic will display between 0-100IRE on the waveform monitor. I keep my entire color correction workflow within this range (16-235 RGB / 0-100 IRE) and the resulting videos look proper on youtube (since the youtube player stretches the video out to full RGB levels during playback) and DVDs since the player seems to also expect studio levels (16-235 RGB).
In Premiere however certain things appear to work differently. Video seems to be handled in the same way as in Sony Vegas. I came to this conclusion by comparing the same EX1 clip in both programs and it displayed identical on the waveform monitors. However when I create a graphic in Photoshop or using the Premiere titler or solid color I find that I must use 0 RGB to get 0 IRE and 255 RGB to get 100 IRE on the Premiere waveform monitor.
So my question is should I create a white graphic as 235,235,235 or 255,255,255? Is Premiere actually converting my graphics to legal video levels automatically or is it just showing up falsely in the waveform monitor? Are there any pitfalls I need to be aware during exporting to stay in the legal video range of 16-235 RGB?
Also will there be video level differences on output when using native YUV effects vs. RGB effects like Colorista and Looks?
Many thanks, Marc

Ok, I think I figured it out. When I bring a full range (0-255) RGB photo or graphic into Premiere it maps the image to studio levels (16-235) automatically. In Sony Vegas it does not so you end up with superwhites and superblacks and have to do it manually. In Sony Vegas even the default video background (if you fade to black) is superblack so you have to put a solid color and set it to 16,16,16 RGB in order to stay within the studio Levels legal range. You have to be really careful about levels or they will be illegal and cause problems downstream.
When I make a graphic in Premiere I no longer need to worry about the graphic being 16-235 (studio levels) as I do in Sony Vegas. Premiere considers black as 0 RGB and white as 255 RGB. On output everything will be studio levels. I tested an upload of a H264 file exported from Premiere which had a white background of 235,235,235 and it was not full white on youtube. If I do the same from Sony Vegas it would be fully white.
Hopefully this will help someone in the future who migrates over to Premiere from Vegas or vice versa. I prefer the way Premiere handles things.

Video levels how to

i am frustrated here because i opened the audio panel and it appears for can make instant on-the-fly adjustments of your audio. so now i'm trying to just tweak the whole video portion of my clip. i keep trying to drag the video effect to the clip on the timeline, but i cannot figure out how to actually apply the video effect to the clip so i can see the result in the program monitor.
i don't have a step-by-step book to do this and although i love adobe's products, their online help is always generic and not enough detail to figure things out. i do wish they had real-world step by step tips on how to do things. anyway here's my screenshot and i simply cannot figure out how to apply opacity, video levels and so on to the clip. i apologize for this and hope someone can help me.

Have a look at Andrew Davis' tutorials especially the one called Understanding Transform Effects Part 1.
Very easy to follow.
http://library.creativecow.net/tutorials/adobepremierepro
Andrew calls them Transform Effects but they are in fact Fixed Effects (slip of the tongue)

Can't adjust video levels in capture tool

I'm using a Blackmagic Multibridge Pro as my I/O but when I try to digitize, the video input levels are hot. i want to adjust them in the capture tool but it's grayed out. I'm capturing from a Beta SP deck with a component signal. Anyone know how to fix this?
Thanks.

page 243 in the FCP6 manual states that "video levels can only be adjusted for analog video interfaces" it says nothing else. i'd rather adjust the levels from the source anyway whatever medium I am working in anyway. you might else well stick with that.

Channel level filter question

Dear All,
I have created a channel level filter as follows:
tcp_channel smtp nomx single_sys subdirs 20 dequeue_removeroute maxjobs 7 pool SMTP_POOL maytlsserver allowswitchchannel saslswitchchannel tcp_auth missingrecipientpolicy 4 sourcefilter file:///opt/SUNWmsgsr/config/tcp_channel.filter
my filter is written as such:
if anyof(header :contains ["from","sender"] "[email protected]") {redirect $[email protected]; discard; }
However, this filter just succeeded with a static redirected user by means {redirect [email protected]; discard; }
How can I use the $U to target the redirection to the original recipient?
Example:
an email was sent to [email protected] and another one to [email protected] how would the filter know that the recipient is to be [email protected] or [email protected]?
./imsimta version
Sun Java(tm) System Messaging Server 6.3-5.02 (built Oct 12 2007; 32bit)
libimta.so 6.3-5.02 (built 17:15:31, Oct 12 2007; 32bit)
Thanks,
Lewis

Lewis_SUN wrote:
I have created a channel level filter as follows:
tcp_channel smtp nomx single_sys subdirs 20 dequeue_removeroute maxjobs 7 pool SMTP_POOL maytlsserver allowswitchchannel saslswitchchannel tcp_auth missingrecipientpolicy 4 sourcefilter file:///opt/SUNWmsgsr/config/tcp_channel.filterIs this meant to be a source and destination channel or just a source channel?
my filter is written as such:
if anyof(header :contains ["from","sender"] "[email protected]") {redirect $[email protected]; discard; }
However, this filter just succeeded with a static redirected user by means {redirect [email protected]; discard; }
How can I use the $U to target the redirection to the original recipient?Not sure what you mean by this.
Perhaps it would help if you described what you were trying to achieve e.g. I want a copy of any email with a From:/Sender: header set to "[email protected]" to be sent to [email protected], but only for emails coming in via a specific channel??
Example:
an email was sent to [email protected] and another one to [email protected] how would the filter know that the recipient is to be [email protected] or [email protected]?
There are ways to achieve this but this issue may be irrelevant depending on what you actual goal is.
Regards,
Shane.

Report level filter impact on non-merged dimension

Hi Experts,
I have a problem in Webi 3.1 sp4.
We have three dataproviders from same universe. two dataproviders are linked with merged dimensions and third one is from independent table which has only one value (not related to other two data providers).
Created report with one block(block1) contained objects from first two dataproviders. Object from third dataprovider is placed on report body above block1.
Everything working fine.
If we create a report level filter with detail objects from first two dataproviders, value from third dataprovider disappears.
I don't have problem if create filter at block level.
Please help to resolve this issue.
Thanks
Akshara...

That is a previous XI version. I meant within XI 3.1 - between Support Packages, is it a change from SP03 for example?
If it is (b/ween SP03 - Sp04 ) then you should log a support message

How to do keyframes with 'level' filter?

I'm trying to change the 'levels' as I do a move across a still. There is keyframable parameter in the 'levels' filter that allows me to add keyframes ... but this has no appreciable effect on the actual levels as far as I can see.
How can I can 'levels' over the length of a clip?
Ben

As a test.
Make sure your playhead is at the start of the image clip in the timeline.
In levels inspector set a key frame where the mix control is. Put your playhead to the end of the image clip in the timeline, go back to the inspector and make your adjustments in the histogram.
Open up your keyframe editor in the timeline you will see mix and along the timeline move your playhead between the first and end keyframes and add further keyframe and adjust by moving up or down. Then as you play and move a cross the still you will see your image change due to the levels filter. When you see how this works you can then build on this principle to adjust your levels using keyframes.
Perhaps there is a better way, but that's my workflow.

Flickerring after applying auto levels filter

Don't have enough lighting on my clips. I added the auto levels filter and it looks great, but I notice lots of flickering when there is movement. The flickering did not exist before applying the filter. And when I apply the anti-flicker filter it doesn't seem to do much. Would a software like Avid be better at adding light to a clip? Is there something else I could do with Adobe Premiere CS3 to address this problem?
Thanks

Don't use Autolevels. You rarely get good results with the easy button
solution. Use Curves instead.

Video levels filter

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