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Broadcasting
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when round-tripping between resolve and avid, I’ve found that it’s easy to clip if I’m not careful with the exports/imports. For that reason, as a standard workflow practice, I always import/export to/from resolve with “Data Levels” (that keeps resolve from remapping levels); import into Avid with 601/709 (that keeps Avid from remapping levels); check the levels in Avid and apply legal levels before my final export to 601/709. Never had any trouble with that approach.
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Thanks for this info Bill (and everyone else as well!)
Do you use the Avid scopes to monitor the levels? Do you have a way of double checking your work, or have you never had an issue and just keep doing it this way?
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Another thing to keep in mind is – for better or worse-the reality is that it all depends on the broadcaster.
If you are outputting a local spot to a local station, I would guess there is much smaller chance of that commercial being kicked back because of an illegal range in color.
If you are outputting a 1 hour show to PBS, there is a very good chance that it will be kicked back.
I’m not saying its “right”, but it is how the world works.
Typically i color everything to as close as legal as possible, and then depending on the broadcaster, i may run it though a final legalize session where anything that has snuck through so far, can get eased down to legal. I have a preset on my DS that has been created and tweaked over the years to satisfy the third party QC company we use. Basically allowing me to do as little “extra” as possible, while still satisfying them and their equipment.
Glenn
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“Do you use the Avid scopes to monitor the levels? Do you have a way of double checking your work, or have you never had an issue and just keep doing it this way”
Yes, to all possibilities. I use Avid scopes as a matter of routine workflow. I, also, double check output files with calibrated studio monitors and BMD Pocket Ultrascope on a 3rd laptop. This entire issue is, obviously, so critical that I do routine calibration and validation runs to make sure things don’t change with new version releases.
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The same should apply to color grading.
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That’s Avid running through the BM Ultrascope when double checking?
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That ‘final legalize session’ is through your Nitris DS?
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No that’s cross checking the final output, post-render on Ultrascope.I also have Hamlet Vidscope, but, that’s unreliable as Quicktime will automatically clip 16-235.
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I use an Avid DS for mastering, as opposed to an Avid Media Composer, but you could certainly use a plug in with Media Composer. Both Boris and Sapphire have legalizers, but you really have to turn Sapphires down, – it really attacks the chroma in preset mode.
Glenn
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