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Boris 3D text not broadcast legal???
Hi,
Riddle me this…
When I have range-check selected, it tells me that the luminance on my Boris 3D titles (which ship with FCP) are not legal! They’re too hot!!! [using the default white]
Is this someting to be concerned about???
If so, how can Boris do this to us???Do I have correct every single of the hundreds of titles I have in my feature-length documentary?
Wayne
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11 Replies
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You have the responsibility to make sure that the titles are broadcast safe. Full white, no matter the tool, is almost always not broadcast safe. Especially in the DV codec, where whites won’t be clamped until you are at 110 IRE, which is in most cases not legal. In fact, most clips are also not broadcast safe because the highlights won’t be clamped until they have surpassed 110 IRE.
Kevin Monahan
Take My FCP Master’s Seminar!
fcpworld.com -
[Wayne K.] “When I have range-check selected, it tells me that the luminance on my Boris 3D titles (which ship with FCP) are not legal! They’re too hot!!! [using the default white]”
Of course they’re too hot if you’re using full white. Are you using a scope? You’ll see that right away on a scope.
TV White is about 90% white, though I run mine at about 85%.
[Wayne K.] “Is this someting to be concerned about???
If so, how can Boris do this to us???”Boris didn’t do anything. You didn’t check your levels as you were creating the titles. All graphics tools have full white in their palette and there are times when you can use full white for projects. For instance, any video created solely for the web can use full white.
[Wayne K.] “Do I have correct every single of the hundreds of titles I have in my feature-length documentary?”
If you did them all full white, then I’m guessing yes.
Walter Biscardi, Jr.
https://www.biscardicreative.com“The Rough Cut,” an original short film premiering December 7th in full High Definition in Atlanta.
rsvp@biscardicreative.com to reserve seats.
https://www.theroughcutmovie.com“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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Thanks for the response.
I guess the onus falls on the editor, but it would be nice if Boris were to give us a heads-up.
Wayne
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[Wayne K.] ”
I guess the onus falls on the editor, but it would be nice if Boris were to give us a heads-up.”Of course it falls on the editor, that’s what we’re paid to do. Deliver a well cut product that falls into all the legal specifications of broadcast standards. Why would Boris need to give a “heads up” on anything to do with levels? I get video footage all the time with levels that are too hot, but I don’t get a “heads up” from the shooter, I can see the levels are too hot on the scope and apply filters as needed.
Why doesn’t Apple give us a heads up on their Text tool, Motion and LiveType as all of those have full white in their color palette? Because they don’t have to. They explain what Broadcast Safe is in their manual and assume that we are professional editors who know to check the colors and levels of everything before we let it out the door.
Walter Biscardi, Jr.
https://www.biscardicreative.com“The Rough Cut,” an original short film premiering December 7th in full High Definition in Atlanta.
rsvp@biscardicreative.com to reserve seats.
https://www.theroughcutmovie.com“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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Actually Boris does not default to pure white but to 235s. You might want to check what sequence settings you have for video processing. It sounds like yours are set to super-white instead of white. Set to white Boris default titles using range check show luma values between 90 and 100. Only when processing is set to super-white do they exceed 100 units.
All the best,
Tom
Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 2 Editing Workshop” Class on Demand “Complete Training for FCP5” DVD
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Tom,
That is something that is really helpful. Thanks.
Walter,
Thanks for your input, too.Wayne
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[Wayne K.] “Walter,
Thanks for your input, too.”Sorry for the rant and I don’t mean to single you out. Levels and colors seems to be a growing issue in our field.
Walter Biscardi, Jr.
https://www.biscardicreative.com“The Rough Cut,” an original short film premiering December 7th in full High Definition in Atlanta.
rsvp@biscardicreative.com to reserve seats.
https://www.theroughcutmovie.com“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[Walter Biscardi] “Levels and colors seems to be a growing issue in our field.”
Amen to that Walter… with the low price of entry, there seems to be an onslaught of editors that missed the “basics” section on the knowledge path. I see it every week in my FCP classes. I don’t expect it to improve in the short run…
Your earlier point was well made in my opinion. If you’re going to call yourself an editor, then you need to know this stuff… otherwise why not just have the receptionist cut the thing…
Mitch Ives
Insight Productions Corp.
mitch@insightproductions.comApple Certified Trainer: Final Cut pro 5
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[Wayne K.] “I guess the onus falls on the editor”
As well it should. Just like it falls on the plumber, carpenter or electrician to make sure that their work complies to all the relevant building, fire & health codes. Part of being a professional is knowing what standards need to be applied & when.
Arnie
https://www.arniepix.com -
Drop your final sequence into an new empty sequence and apply the “Broadcast Safe” filter. You won’t have to re-do each title that way.
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