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Adding a track of generated black… everyone already does this?
Just read something on another forum that blew my mind in that it makes sense, and I feel like a fool for not having heard or thought about it earlier.
Seems like everybody but me starts off a project by adding a generated media event with black and making that the bottom track, stretched across the whole length of the project.
If they’re going to be working in studio RGB for the whole project, they adjust that black to 16-16-16.
The rationale is that when you fade to black or have a space between media, what Vegas is producing is not really black — it’s alpha 0. It’s not a generated black. So if you’re intending to be in studio RBG, you’re not getting the 16-16-16 you want, but instead a 0 alpha, which will be out of range.
If the intent is to work in computer RGB and go to studio RGB at render time, they still do this…because the Levels or Broadcast Colors filters still won’t adjust that “black” from the non-events to 16….it’ll stay as that 0 alpha.
Okay, that makes complete sense…but never once occurred to me. Is this one of those unwritten but widely understood rules?! I could’ve sworn absorbed all the info I needed years ago from Douglas Spotted Eagle’s Vegas 8 book — I don’t remember having seen this!
And for anyone who hasn’t thought of this and has just had his or her mind blown, too, speak up, so I don’t feel so dumb out here! 🙂
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Radio guy in a TV world. Bigasssuperstar.com -
5 Replies
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[Scott Simpson] “Seems like everybody but me starts off a project by adding a generated media event with black and making that the bottom track, stretched across the whole length of the project.”
Yes, it’s a common practice but I add it at the end of the project when I’m making it broadcast safe. For editors producing for the web there is no need to do this. If you are doing Episode work, you usually add the black at the beginning for the duration of the episode so that you know when you run out of black you run out of air-time. It’s also a good idea to create white title presets that are 235,235,235 so your white text is always broadcast safe as well.
~jr
http://www.johnrofrano.com
http://www.vasst.com -
Adding it at the end of project as John mentioned is best.
Steve Rhoden
(Cow Leader)
Film Editor & Compositor.
Filmex Creative Media.
https://www.facebook.com/FilmexCreativeMedia
1-876-461-9019 -
Wow!
I’m very honestly ASTONISHED that I’d never been exposed to this idea before now. I’ve been using Vegas for years. I’ve read books. I’ve watched tutorials. I’ve read forums. I’ve watched webinars. I’ve taken in everything I could find.
But I’d never, ever seen this technique before. It’s making me wonder if there are OTHER “everyone knows” workflows that I’m not aware of.
What else do you guys smack yourself in the head for forgetting to do? Those “I should’ve known better, but just forgot” things that you regret once the rendering’s all done?
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Radio guy in a TV world. Bigasssuperstar.com -
[Steve Rhoden] “Adding it at the end of project as John mentioned is best.”
People should send a feature request to Sony to add project preference, and/or application preference for what color “nothing” is. Right now it is always 0,0,0 and filters like Broadcast colors, levels and such can never affect this. They only affect “real” pixels.
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Sony gets tons of these feature requests already Norman.
That’s how it goes Scott, you never stops learning.
Steve Rhoden
(Cow Leader)
Film Editor & Compositor.
Filmex Creative Media.
https://www.facebook.com/FilmexCreativeMedia
1-876-461-9019
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