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Better Broadcast Safe filters..??
Sure, the apple one can handle video over 100IRE, but why doesn’t if truly function with color.
Is there a filter out there that will make safe WHITE’S over 100IRE and colors OUTSIDE the color safe circle?
Not really desaturate either….clip color outside not lower all.
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16 Replies
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Anything over 100 IRE isn’t “safe.” You want your whites to be under that.
For color correcting for broadcast, nothing beats going clip by clip and adjusting. and the 3-way color corrector is perfect for this. You can adjust the black levels, the white levels, and the color levels.
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[mike] “Sure, the apple one can handle video over 100IRE, but why doesn’t if truly function with color. Is there a filter out there that will make safe WHITE’S over 100IRE and colors OUTSIDE the color safe circle? Not really desaturate either….clip color outside not lower all.”
sure is!
it is called a proc amp and the hardware version has been the standard since the advent of television.
the software version in FCP does the same thinggary adcock
Studio37
HD and Film Consultation -
Fine….not really an answer to my question…
Clip by clip basis is how I’m doing it. There are occassional flashes of something red or yellow in the background of some clips that go over and you may not catch it with a moving camera is all…
but, can you suggest a PROC AMP and aprox price?
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I think you might want to bone up a little more on the process.
All the tool you need are within your grasp. -
What’s the difference between using this filter as opposed to using the 3-way Color Corrector and lowering the whites to under 100 IRE?
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[mike] “but, can you suggest a PROC AMP and aprox price?”
it’s built into FCP. I’m using a combination of the Broadcast Safe, Levels and Proc Amp filters for a broadcast HD series right now. They’re excellent for the process.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[_OOO_] “What’s the difference between using this filter as opposed to using the 3-way Color Corrector and lowering the whites to under 100 IRE?”
You use it in combination with the CC just as an added layer of protection to ensure that nothing spikes above 100. For instance, I use the 3-Way to do my primary color correction, then I apply the Broadcast Safe and Levels (or Proc Amp) filters to ensure my blacks stay at 0 and whites stay at 100 or below.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[walter biscardi] ” it’s built into FCP. I’m using a combination of the Broadcast Safe, Levels and Proc Amp filters for a broadcast HD series right now. They’re excellent for the process.”
That would be my vote also, while the hardware ones tend to be a bit pricey like any scope can be, the one in FCP works as promised.
gary adcock
Studio37
HD and Film Consultation -
I actually asked about the existence of a filter that will clip the unsafe color outside the circle that can be used as a safety much like how the broadcast safe will commit whites to 100IRE. Not desaturating all colors… clipping.
Thus far, the answer is “no”.
I was also curious why the apple broadcast safe filter “appears” to deal with color, but it doesn’t actually work.
I use the same processes you guys are…. I actually have to secondary color correct some colors because they were shot way out of the color safe, while I do not want to desaturate the entire shot color pallette.
With moving cameras, sometimes the camera guys get images that pop on in the background NON COLOR SAFE and you may not catch it.
A filter like I mentioned would be helpful is all.
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Well dedicated terminal equipment like procamps don’t clip the video they clamp it to minimize loss of detail. In the old postproduction pipeline you constantly monitored and adjusted your video to make sure that when it hit the procamp, the procamp won’t mess with it.
What you are describing would be like a compressor/expander in audio that dynamically normallizes the audio. Using the filters mentioned above you can keyframe correction to the transients.
It’s is one of editor’s jobs to make sure the video stays correct in an artful way.
My 2
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