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Chroma levels for BluRay
Hello
I’ve been searching the forum and found lots of info (Walter Biscardi you are a very helpful man!) regarding this matter but I’m still a little unsure.
I’ve been attempting to grade a concert shot on HDCAM. There’s going to be a broadcast version of this at a later date, but for now it’s going to BluRay.
I’ve seen it said on here that you don’t have to worry too much about being broadcast safe if it’s going to DVD. How far can you push it though? Because of the stage lighting lots of the shots are incredibly saturated. Should it be near broadcast levels, or can it be left with chroma levels way over the broadcast targets?
Also when it does go for (PAL) broadcast, any suggestions as to how I bring it down to safe levels without it looking too washed out would be massively appreciated. I’ve been trying various different filters e.g. RGB Balance/Limit, Proc Amp, Levels etc. but I’m yet to get a satisfactory look.
Many thanks
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6 Replies
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[Dan Williams] “I’ve seen it said on here that you don’t have to worry too much about being broadcast safe if it’s going to DVD.”
You should always grade for broadcast safe no matter what the final output. Unless you really want colors to bleed all over the place on consumer TVs or brights to completely wash out the image.
I’ve never understood why it’s ok to simply crank up levels just because “it’s not for broadcast.” It’s going to be played back on the same TVs and projectors that people watch broadcast TV on, correct? So why should the levels be any different?
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
3 way color corrector .. color w bcast safe selected on.. these are part of the FCS
or
https://www.eyeheight.com/complianceSuite.aspprovides more advanced legalization.
we output broadcast masters all the time using whatever tools are necessary depending on the project requirements/budget. The simplest here’s my project can you go to tape gets broadcast filtering, 3 way color corrector if it’s extreme illegal.
Most of the major issues come from folks not using a real monitor or scopes to check their project. Even the scopes that come w FCP are pretty accurate if you have a decent GFX cardDoug Beal
Editor / Engineer
Rock Creative Images
Nashville TN -
Thanks for the reply
I had a feeling you’d say that. I was basing my assumption on what I read in this post
https://forums.creativecow.net/thread/8/900570#900570.
I was kind’ve hoping there’s be a bit more leeway, cos this is one hell of a task to get this concert broadcast safe.
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Thanks for the reply.
I’ve been going through shot by shot with the 3 Way CC getting contrast, then some secondary filters to bring down some of the colour, and using the FCP scopes. I know I’ll probably get my head bitten off, but I’m going through an MXO2 with it’s new calibration setup into a HDTV for montoring. I’m afraid it’s all we can afford at this time.
The trouble is that some of the shots are so far off that once I get the shots down to legal, it can end up looking pretty washed out. The broadcast safe doesn’t seem to do a great job with clamping the excess chroma too, has a pretty drastic effect on the rest of the image.
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With MPEG-2/DVD compliant (guess the same for BR), there is no risk of going off-Brodcast.
On compression, everything out the 0/100% range is clipped.
This is a fast way of legalizing, but works.
If you have color graded first, that should be OK.
rafael -
If you want to get both broadcast safe and control of a saturated look, use Color.
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