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Color bars?
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agreed. that sounds rather unusual to me. If the thing is being file slotted directly into TX like that – It just seems surprising to have not even a basic slate for the tx/iscii code, title or duration, just to have files plonking into the schedule with no real eyeball monitor or duration QC… what if the event duration is off? or it was supposed to have a living hold? it doesn’t really sound very broadcast. the schedule is God no?
and last I checked, broadcast engineers were still putting food on the table. K2’s do tend to need handholding.http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
Bill Davis
“Color bars are kinda an analog video world artifact.”So how do you CYA when a client comes back because they think the black levels are wrong? Every delivery we make(HDCAM SR or file based) requires bars and tone.
twitter.com/illyalaney
nextLAB Mobile
SpeedGrade DI
Resolve
da Vinci 8:8:8 Renaissance
Color
Truelight -
You should seriously look into DGFastchannel/Digit and ExtremeReach. Whoever is telling DVCam may not know the what the cable company can really accept. I haven’t delivered tape for a cable spot since around 2006.
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Today, Color bars is not about using them or not, but about understand them or not.
Dismissing Color Bars shows an absolute lack of knowledge on what video signal (Analog or digital, composite or component) is.
Anyway presets-video-editor won’t miss them.
rafael -
Letterbox + Pillerbox = Letterbox
E=MC2+/-2db
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[Bill Davis] “Personally I’m not sure what traditional bars mean in a digital world where every color values are typically represented by unchanging numeric data.”
What color is the numeric value (178, 234, 72)?
Well, is the color space RGB? sRGB? Adobe RGB? YUV? YCrCb?
Is it Linear? Log? Gamma 2.2? Gamma 1.8?
You can take a video tape, put it in 10 different decks, and within a very tight tolerance, get the same signal coming out of all 10. Try playing a video file in 10 different software, and see what you get.
Without special workarounds, an H.264 made by QuickTime on a Mac will play with the wrong gamma in QuickTime for Windows… and that problem has been around for YEARS. Last I checked even the movie trailers on Apple.com play with the wrong gamma in Windows.
You could argue that Bars & Tone is an old-fashioned way of accomplishing the goal of consistency, but its one that a lot of people are familiar with using. There are some standards for file-based exchange of color space info, but I haven’t seen anything reliably used across multiple vendors yet.
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I don’t do alot of commercials. I think they did do fast channel, but they still wanted SD with bars and slate.
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[Jason Livingston] “an H.264 made by QuickTime on a Mac will play with the wrong gamma in QuickTime for Windows”
yes. fixing the whole blend transparency stuff in command-J parameters, when dealing with say, brand critical end spot logo reveal gamma colour values is nothing less than insane.
Digital is a nest of crazy, poorly thought out, inconsistencies – the idea that the imposed order and measurement systems of broadcast, regardless of their application, are a fuddy duddy leftover from days of yore, is really irritating.
*It’s a logically falsifiable QC.*
http://www.ogallchoir.net
promo producer/editor.grading/motion graphics -
Look at any current page of modern station delivery standards. They want a content clip only. No bars, no tone, no slate. Just the file please.
Not the case for me in Sweden or any country with-in Europe more or less.
Apple has dropped the ball so badly it’s not funny. You can argue what you are but then again you can’t even monitor FCPX through a broadcast-monitor so I’m not sure how anyone in their rightful mind would use it for professional output (unless it’s web or digital only).
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Erik Lindahl
Freecloud Post Production Services
http://www.freecloud.se -
You really do need to put some form of reference when you send any item out of house. Bars and tone work fine.
Best,
Park
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