Waveform Monitor Levels

I think the Waveform Monitor (WV-150) is a great tool, but I am a bit confused as to how I should set the levels. For example, do I want to keep ALL levels below 100, or is it advisable to allow less important elements of the picture to exceed 100 in the interest getting a brighter picture in the more important areas? If so, how far can I push this? (I realize that there may be no easy answer to that second question.) Thank you.

Sorry can't do that test because I'm running PC's here and do not have Apple Color. The previous test sounded like a good way to see how the scopes are behaving when dealing with footage with proper levels.
I haven't sent any episodes shot with the Sony XDCAM EX footage to a duplication house with hardware scopes yet. A couple years ago I sent thirteen episodes shot with DVCAM for broadcast distribution. Those clips had the limiter effect on them in Premiere. My notes from them about one show say that the entire signal was 6 to 8 IRE too hot. Also there was a RGB gamut error at some point. Also they said the pedestal needed to be raised. These notes were just from one show, that was shot outside in the winter with snow by a different cinematographer. I DP'd the rest of the season forward, and probably shot with better levels right out of the can that needed less color correction. My point is, at least with this one episode using DVCAM, and probably CS3 at the time, the master deliverables levels were beyond the limiters settings as well.
Seems to be that the Premiere Pro limiter isn't properly processing the entire clip, and further more, at least with XDCAM EX, parts of the signal expand (using any of the color correction effects) after render. Before maybe we couldn't see these illegal values in the trace, but now with CS5 they are visible after render.
I'll just apply the limiter anyway and color grade using the scopes before rendering. The duplication house will have to run them through a real limiter, and sequentially clip some highlights in a poor manner. Seems like the best we can do for now with PP.

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Using a calibration target with a waveform monitor to get the right contrast?

I was wondering if I am using this target correctly with the waveform monitor to achieve the right amount of contrast.

Dave
You are doing it kind of wrong.
What you should use that Black /Grey White TOOL for is to set an exposure at the camera. (NOT in Post Production..but it does have an application in post)
If your Camera has the Zebras set at 95-100% White...you would point camera at the "TOOL" and adjust exposure so that the zeras display on the white section. You can not do anything about the black. (It will fall into place from the exposure on the white)
Now the above assumes that as a photographer...you actuall want the white level to photograph as white for the particular shot that you are taking.
Exposure is all about tones. Black to white thru grey tone actually. (Forget about color)
Hope this helps but I am happy to expand if you wish.

Missing Waveform Monitors - New Install, Most Recent Premiere CC 2014

Hi,
I recently downloaded and installed Premiere Pro CC and related apps with a cloud subscription on a new Mac Pro tower. I connected by working RAIDs and opened a PPro project originated on my previous edit system, an iMac. Right away I noticed some strange behavior and key features missing when I went to color correct my footage.
With the desired timeline active in the "Editing" workspace, I used the keyboard shortcut (I also tried this with the dropdown menu) and switched the workspace to color correction. Rather than the timeline activated in the "editing" workspace, a completely different timeline in the project appeared in the "color correction" space. This occurred multiple times with seemingly every timeline, but the one I desired to correct activating in the "color correction" space.
Also, the waveform monitors are absent from both the reference and program viewer menus. I can't seem to the find them anywhere. This leaves me feeling a bit crazy, as I was operating in the most current PPro CC version on the iMac just yesterday and everything was in its place.
Thoughts on what is going on here?
Here are my system specs:
Mac Pro
Yosemite 10.10.1
Processor: 3.5 GHz 6-COre Intel Xeon E5
Memory: 32 GB 1886 MHz DDR3 ECC
Graphics: AMD FirePro D700 6144 MB
For now I suppose, I'll try uninstalling and re-installing the app. Other ideas? Anyone else experiencing this?
Lindsay

Thank you for all of the feedback. I have tried un-installing and re-installing twice now. Once using the cleaner tool and once without. Neither has remedied the problem. I was sure to check "Remove Preferences" when performing the un-install, but when I opened a new project after the re-installation, PPro opened in the "Color Correction" workspace rather than opening in the standard editing workspace and still no scopes.
Other ideas?
I found this thread, which isn't boosting my confidence in a healthy Premiere / Mac Pro relationship, but I have seen no mention of the missing scopes issue I am experiencing. And really I haven't progressed to the point of attempting an export or render. As you well know, scopes are vital, and there's no point exporting if I can't properly polish a product.
Premiere Pro CC and the New Mac Pro (2014)

Using an external waveform monitor

I have an external waveform monitor (SDI input) and a Black Magic Decklink Extreme which has an SDI output.
I'm trying to get output from Final Cut Pro so I can read the images on the waveform. I've tried "Refresh AV Devices" and enables "All Frames" but it doesn't seem to work.
Ideally, I want to get a continuous output -- not just one frame at a time.
What should I try?

Do you have the correct Decklink setting in the Preference pane?

Tool bench / Waveform monitor / video scopes- brightness of display problem

the display in my tool bench, and specifically in the waveform monitor, is too dark to read.
Happily in the upper left corner, jsut below the "Video Scopes" tab, there are two buttons to adjust:
click to set scale brightness
click to set display brightness
But ... everytime i go away and come back to the tool bench, it reverts to the too dark setting and i must reset it. there must be some way to make a new default value to the display brightness that stays. As it is, the default is waaaay low, so it isn't some factory middle value.
Ideas?
thanks
gary

None, sorry. Mine work as they are supposed to which does not help.
Bogiesan

Setting monitoring level for a Proxy Service programmatically

Hi there -
We've successfully created a Weblogic ALSB domain from scratch using WLST.
Now we'd like to adjust the monitoring level of our Proxy Services programmatically.
Are there any code samples illustrating how to achieve that?
The setServiceLogLevel() method of the ServiceConfigurationMBean looks promising, but I couldn't get it working and there doesn't seem to be any documentation in the API for this one or sample code available elsewhere.
Any hints are appreciated!
Cheers,
Jan

Anybody having luck using the setService*Level methods?
wls:/test/domainRuntime/DomainServices/ServiceConfiguration> ls('o')
-r-x setServiceLogLevel Void : com.bea.wli.config.Ref,com.bea.wli.sb.management.configuration.operations.LogSeverityLevel
-r-x setServiceLoggingEnabled Void : com.bea.wli.config.Ref,Boolean(isEnabled)
-r-x setServiceMonitoringEnabled Void : com.bea.wli.config.Ref,Boolean(isEnabled)
-r-x setServicePipelineAlertLevel Void : com.bea.wli.config.Ref,com.bea.wli.sb.management.configuration.operations.AlertSeverityLevel
-r-x setServicePipelineAlertingEnabled Void : com.bea.wli.config.Ref,Boolean(isEnabled)
-r-x setServiceReportingStatus Void : com.bea.wli.config.Ref,Boolean(isEnabled)
-r-x setServiceSLAAlertLevel Void : com.bea.wli.config.Ref,com.bea.wli.sb.management.configuration.operations.AlertSeverityLevel
Or where to find the documentation for com.bea.wli.sb.management.configuration.operations.LogSeverityLevel and the likes?
Looks like something internal, though:
wls:/test/domainRuntime/DomainServices/ServiceConfiguration> import com.bea.wli.sb.management.configuration.operations
Traceback (innermost last):
File "<console>", line 1, in ?
ImportError: No module named operations
Cheers,
Jan

Why those gray bars in the waveform monitor ?

Hi,
On previous FCP, the gray bars in the Waveform monitor were visible only when using the Sequence's RGB render settings.
Now, with FCP 5.1.4, if i place, say, a layer with composite mode, the gray bars show even if i work in a "High quality YUV" setting.
Just curious...why that change ?
thanks

I don't know what gray bars you're talking about. If it's the graticule (thin horizontal lines at regular intervals), they're an essential part of a waveform display. Without them you'd have a hard time doing precise calibrations.
I can only assume that if they were gone before and there now for you, somebody fixed a problem. Or you had them turned off before.
If you're talking about some other kind of grey bars, then you'll have to explain what they are.

Where is the menu to select the waveform monitors and vectorscope?

I feel stupid but I am unable to find the menu to select the waveform monitors and vectorscope in the newest update to PP CC. Any guidance would be most helpful. Happy Halloween!

FWIW - I have set up a Keyboard Shortcut that Displays Waveforms in the Program Monitor.
My wish was for them to be available as a Button Icon but that is not possible.

How to get RGB color corrector back working with YC waveform monitor

so, as many of you are probably aware, Adobe's latest update killed the RGB color corrector, at least in terms of using it with the YC waveform monitor.
In this thread ( http://forums.adobe.com/message/4825916#4825916 )
someone says-
"Yes it's a Bug since the 6.0.2 Update. I replace the effect in the premiere plugin directory with the same from version 6.0.1 and it's working again"
how can I go about doing this?
I looked on another machine running premiere 6.0.0, but I am not seeing a plugin for RGB color corrector in C:\Program Files\Adobe\Adobe Premiere Pro CS6\Plug-ins\Common
and I don't know what "RGBColorCorrector.cubin" is in C:\Program Files\Adobe\Adobe Premiere Pro CS6\PTX\cubin11
bottom line is that I want the RBG CC back working with the YC waveform monitor again.

also, I saw that initially, but assumed it was only used by after effects, due to the AE in the name, and that windows classifies it as an "adobe after effects effect".

Continuous output on a waveform monitor

Running an older Black Magic HD Extreme video card on a G5; SDI output to a waveform monitor.
External video set to "all frames." Problem is the output only changes when I pause the video. This is a problem because I want to shoot video of the waveform output changing -- it's for an instructional DVD.
Is the problem that it's running on a G5? Would I do any better running it on my Mac Pro quad? I need to check on this because I would have to buy a new Black Magic card for $1000 to fit the Mac Pro so I don't want to jump into it unless I have to.

Is the problem that it's running on a G5?
No, your Decklink HD equipped G5 is plenty capable. If you are not getting a full motion output then you have some other mismatch. What are your source clip properties, what are your sequence settings, and what video playback preset have you selected?
Cheers
Andy

Video tutorial: The Waveform monitor

Richard Harrington presents this video tutorial about the Waveform monitor. For the tutorial: <a href="http://help.adobe.com/en_US/premierepro/cs/using/WSCE1EF46C-AB40-45f9-BAD8-D790421BD01A.ht ml">this page in Help.</a>

Richard Harrington presents this video tutorial about the Waveform monitor: http://youtu.be/BNKue_8EPzI

Monitoring levels differ when recording vers. when recodring is enbaled

When i enable a track for recording (thru a mic), the volume from this input sounds very low in comparison with previously recorded tracks playing along.
When i start recording the same track, this input sounds a lot louder.
In practice this means i am always recording in order to really hear what i am playing well.
How can i make the monitor level during rehearsal and actual recording the same?
Thanx

In audio preferences, under the devices tab, there is a parameter called "Independent Monitoring Level".
Is this by chance selected? If so, try disabling it, and see if that takes care of the problem

Software Based Waveform Monitors

I would like to know if anybody out there knows if there is a software based waveform monitor available like the "Serious Magic DV Rack 2" which is sold by Adobe and only PC based. I don't necessarily want to have to be running FCP in order to use it, all I want to do is get a waveform and vectorscope up on the Powerbook I use on location.

I've used Videoscope and it's ok. Though it's not a piece of hardware, either. And it gets confused sometimes when FCP or Quicktime is open. So if you want to use the same computer to capture the video, you have to make your measurements, shut it down, and then open up whatever you're using to capture. I admit to only using it as the free tryout, so maybe this gets fixed when you buy
$30 after the trial.
http://www.versiontracker.com/dyn/moreinfo/macosx/4749

How to set proxy service monitoring level to Action using script

We have to enable monitoring at Action level for Proxy service. I have written the code to enable the monitoring at Action level but I am getting Null pointer error. Below is the portion of code I am using for this purpose :
String sessionName = createSessionName();
sm.createSession(sessionName);
ServiceConfigurationMBean serviceSession = (ServiceConfigurationMBean) domainService.findService(ServiceConfigurationMBean.NAME + "." + sessionName , ServiceConfigurationMBean.TYPE, null);
serviceSession.setServicePipelineMonitoringLevel(proxyRef,PipelineMonitoringLevel.Action);
Error is as follow :
java.lang.NullPointerException
at SettingMonitoring.customizeMonitoringSetting(SettingMonitoring.java:115)
at SettingMonitoring.main(SettingMonitoring.java:45)
Please let me know what could be the reason for this error and how to fix it.

Yes, but it would depend on your app design - for example, I put all the non-presentation code into pl/sql packages so embedding calls to other pl/sql packages is pretty low overhead. You could also create a "helper class" on the .NET-side to do this as well. There are probably other ways as well, but those are the two that jumped out to me.
- Mark

Waveform IRE Level Over 100 on Sony A77 but not for Canon T2i

Why does the Sony A77 have a white IRE level over 100 while the Canon T2i max out at 100? You can view this larger if you like so you can see the graph better, http://www.flickr.com/photos/davedugdale/6326846722/.
On my Canon I have highlight tone priority turned off and Auto lighting optimizer turned off as well. Also on both camera I have them set to a neutral picture style and the lowest contrast setting.
I am trying to do a test on which camera can hold the highlights better.
As you can see I matched the skin tone levels on the left by changing the camera settings to match each other so I could see what would happen on the right side where I drew a tree that is heavily back lite.
But it is hard to draw any conclusions when the Sony is "cheating" with higher IRE levels.
I wonder if it has to do with the color space? I don't think so because both are using the sRGB color space.
No transcoding was done to any of the clips dragged on to the timeline. Just "raw" files from the cameras.
The Sony A77 creates AVCHD Video (.MTS) files while the Canon T2i creates MOV video (.MOV) files.
What is interesting is if I use the same clips in Sony Vegas Pro 9, the Waveforms match at 110 IRE. Something wrong with Premiere?
Sony A77 on the left and Canon T2i on the right.
To see better: http://www.flickr.com/photos/davedugdale/6328037442/

Thanks everyone for replying, here is a some more info from the two video clips that might help (meta data):
This is from the Canon T2i:
Video:
ID : 1
Format : AVC
Format/Info : Advanced Video Codec
Format profile : [email protected]
Format settings, CABAC : No
Format settings, ReFrames : 1 frame
Codec ID : avc1
Codec ID/Info : Advanced Video Coding
Duration : 29s 654ms
Bit rate mode : Variable
Bit rate : 32.9 Mbps
Width : 1 920 pixels
Height : 1 080 pixels
Original height : 1 088 pixels
Display aspect ratio : 16:9
Original display aspect ratio : 16:9
Frame rate mode : Constant
Frame rate : 23.976 fps
Color space : YUV
Chroma subsampling : 4:2:0
Bit depth : 8 bits
Scan type : Progressive
Bits/(Pixel*Frame) : 0.661
Stream size : 116 MiB (96%)
Language : English
Encoded date : UTC 2011-11-08 13:05:09
Tagged date : UTC 2011-11-08 13:05:09
Color primaries : BT.709-5, BT.1361, IEC 61966-2-4, SMPTE RP177
Transfer characteristics : BT.709-5, BT.1361
Matrix coefficients : BT.601-6 525, BT.1358 525, BT.1700 NTSC, SMPTE 170M
This is from the Sony A77:
Video
ID : 4113 (0x1011)
Menu ID : 1 (0x1)
Format : AVC
Format/Info : Advanced Video Codec
Format profile : [email protected]
Format settings, CABAC : Yes
Format settings, ReFrames : 2 frames
Format settings, GOP : M=1, N=12
Codec ID : 27
Duration : 28s 987ms
Bit rate mode : Variable
Bit rate : 20.9 Mbps
Maximum bit rate : 22.0 Mbps
Width : 1 920 pixels
Height : 1 080 pixels
Display aspect ratio : 16:9
Frame rate : 23.976 fps
Color space : YUV
Chroma subsampling : 4:2:0
Bit depth : 8 bits
Scan type : Progressive
Bits/(Pixel*Frame) : 0.420
Stream size : 72.1 MiB (95%)

Waveform Monitor Levels

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