• Adobe Premiere Pro

  Advice in exporting to a rec.601 file from a rec.709 source in Premiere CS6

  Posted by Matt Stoddart on February 13, 2013 at 4:41 pm

  From a Prores 422HQ file I need to produce a Pal Digital Betacam tape. Starting in Premiere CS6 on a 1980×1080 timeline running at 25fps (after making the appropriate changes vid/audio to make the 23.976 file to run at 25fps), I export it to an Quicktime file using the Avid uncompressed Meridian codec so I can quickly import it into an old Avid Media Composer 9000XL v12 system for layback to digi.

  I naively thought sticking a 0-100 video limiter on the file in premiere would “legalize” it….not realising 0-100 in 0-255 will not make a 16-235 legal file. hmmmmm I don’t really understand the full differences between 709 and 601, I just look at in 709 has a wider dymanic range colourwise, 0-255 vs 16-235.

  I’m at the crossroads now do I try in Premiere
  1) Proamp effect
  2) Use the Levels in the Adjust folder to change all 0 to 16 and 255 to 235?
  3) Export it to Avid as is and run it through an Eyeheight legalizer

  The odd thing is on the day I dropped in 5 Digis to a Broadcaster was the day I collected a Tekronix WFM601A scope, when I returned to the suite with the scope I saw how 709 my output really was, all 5 digis passed even though the delivery specs stated it must conform to rec 601 standard. ?????
  I could see on the scope the blacks were way below the 0 on the scope but no visual signs of crushed blacks when watching on a CRT Sony monitor.

  Any advice on which crossroad I should take would greatly be appreciated, any of the above routes or a different one, the only route I will not take is “It passed as is so leave it as is”.

  Thanks in advance

  Matt Stoddart replied 13 years, 3 months ago 1 Member · 0 Replies
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