Better Broadcast Safe filters..??

[Bret Williams]

The broadcast safe filter doesn’t CLIP anything. It beautifully takes the Levels from 90 ire to 110 ire and compresses them to fit within 90 and 100 ire, but on a curve. No loss of detail that way. So it’s like a proc amp just for the top end of the luma.

Not sure about your odd extra bright colors that appear as the camera pans. You shooting in a disco or something?

[Bret Williams]

Also, look into the custom setting for the broadcast safe filter. You should be able to park on a frame with your too saturated background, and make settings that ramps down the saturation just for that portion of the scale.

[Solie Swan]

Synthetic-ap’s Color Finesse software.

[Max Frank]

Hi,

PLEASE excuse my ignorance, but I really want to understand this issue.

I know that it’s always best to color correct your footage using the 3-way color corrector tool & the scopes, etc. but what is the problem with using the FCP or ‘Joes’ broadcast safe filter.

For instance, I’m working on a feature-length documentary with literally thousands of shots – from countless sources, and and on many of them, I’ve got some wild gradings. It would take me literally weeks to through each shot and bring it into spec.

Can you explain to my why I SHOULDN’T just drop a broadcast safe filter and render that out & send to a network?

Thanks in advance for taking the time to explain it to me.

Yours,

Wayne
PS – also – if there IS a great Broadcast safe plug-in that works, please
let me know what it is.

[Bret Williams]

There’s no reason not to. You’re talking about 2 completely different things… color correction and color safe. Your shot might look like crap and not match other shots. That would require color correction.

All your shots might match up just fine, but they were over exposed and the brightness needs to be brought down. That would require a broadcast safe filter.

I really don’t understand all the confusion.

[Gary Adcock]

[Bret Williams] “There’s no reason not to. You’re talking about 2 completely different things… color correction and color safe. Your shot might look like crap and not match other shots. That would require color correction. All your shots might match up just fine, but they were over exposed and the brightness needs to be brought down. That would require a broadcast safe filter.
I really don’t understand all the confusion.”

there is a lot more to being “broadcast safe” than just your explanation. Chroma and luma can both affect the transmission and reception of your video signal. There are also varying levels of broadcast safe depending on where you work runs on PBS or HBO.

White levels that are too high cause that annoying audio buzz when graphics pop on screen during that late night cable show. Chroma levels cause a different issue.

There is never one answer here, the rules were set in place for video transmission, so if you are not sending your work to a satellite then most of this discussion is moot. HOWEVER issues such as this do affect DVD output so beware. A little knowledge is a very dangerous thing.

gary

gary adcock

Studio37
HD and Film Consultation