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Forums Adobe Premiere Pro Are Premiere’s waveform monitors useless?

  • Are Premiere’s waveform monitors useless?

     Paul Del Vecchio updated 12 years ago 4 Members · 9 Posts
  • Angelo Lorenzo

    March 5, 2011 at 9:43 am

    … and I mean that in a precise sense.

    Why do I think this? The IRE levels are mapped to the full 0-255 range 0 being 0 IRE and 255 being 100 IRE. That’s fine for web and all but when multiple broadcast standards seem to agree that 16-235 is the range, it makes it less than intuitive to figure out that most deliverables are really 6.8 to 92 IRE on the scope.

    Just venting…

  • Alex Udell

    March 5, 2011 at 2:53 pm

    Isn’t 16-235 the YUV version of RGB 0-255?

    Not totally clear on this…


  • Angelo Lorenzo

    March 5, 2011 at 7:35 pm

    Well the thing is on the scope 0 and 100 map to 0 and 255. Final Cut Pro is actually a bit more useful in this respect as their scope’s 0-100 maps to 16-235.

  • Paul Del Vecchio

    March 5, 2011 at 8:42 pm

    Premiere is really based specifically on all media so 0-255 gives you a good range. I’d rather see all that than only being able to see 16-235. I can still see 16-235 in a 0-255 range obviously, but I can’t see 0-16 and 235-255 when limited to a 16-235 scale. Media is being produced for a ton of different delivery formats and outlets so seeing the full scale I believe gives you an advantage. You can still see what you are delivering to TV while also being able to see the values for web, film, etc.

    Paul Del Vecchio – Director

  • Angelo Lorenzo

    March 5, 2011 at 11:48 pm

    Well granted, the scopes are useful for the 0-255 range, but when most deliverables have to conform to 16-235, I’m surprised they don’t at least put in a feature to switch ranges. I put in a feature request for it though.

  • Paul Del Vecchio

    March 6, 2011 at 3:12 am

    Switching between the two would be nice. Also, I guess you could also just add the broadcast filter on it to limit the range. They did add a whole bunch of new features to CS6 so maybe this might be one of them. It’s awesome that they’re listening though.

    Paul Del Vecchio – Director

  • Alex Udell

    March 7, 2011 at 2:16 pm


    Paul are you from the future? 🙂


  • Jeff Brown

    March 8, 2011 at 5:12 pm

    I’d like an engineer to chime in, but I believe 16-235 is SMPTE digital range; 0-255 is RGB colorspace, which seems like where Premeire is working. So the ‘scopes are accurate within Premeire. For output, depending on format, you may need 0-255 to be remapped to 16-235. Avid codecs for one will do this. And conversely, bringing in SMPTE digital requires remapping to 0-255.


  • Paul Del Vecchio

    March 8, 2011 at 9:21 pm

    [Alex Udell] “CS6?

    Paul are you from the future? 🙂


    I can see into the future. =)


    Paul Del Vecchio – Director

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