Final Cut Pro Broadcast safe Question

[Steve Cohen]

Did you try the Three way Color correction filter?

If you bring down the whites slightly you should get the same effect.

Steve Cohen
Editor
O2 Media Inc.

[Mark David spencer]

Yes, but that brings down the entire white levels. For example, if I want to bring 109% white down to 100% I can’t do it without bringing the white that’s at 99% down to 90%.

I’m familiar with 3 way CC, but I wanted to see if there was an option that didn’t compromise overall luminance.

Thanks for your reply

[Arnie Schlissel]

You have a couple of options.

First of all, try the Proc Amp filter. Adjust the “video” slider down a little, till your scopes show the brightest luma is at or below 100 IRE.

Another option is to use the 3-way CC, but use the limit controls to confine the effect to only the top of the highlights. Make sure you have the softening on.

Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog

[Mark David spencer]

Thanks Arnie, I’ll give that a shot when I get back to the ol’ dungeon.

M.

I have a dream…that all media production is 5% technical/95% creativity and not the other way around.

[Michael Colin]

Have recently been working on an AVID again after years of FCP-only projects, and have to say that there is something in this area I’ve always appreciated about AVID (at least the version I was working on): whenever you apply a color effect to a clip, it automatically snaps to broadcast legal levels. Would love to see this feature in FCP!

[Mark David spencer]

That sounds awesome, I’d love to see that too.

I would also like to see the range check meter be more accurate before you render, because sometimes an effect falls in broadcast safe zone before render but not after.

I have, however (I think), found a much better and quick way to make a broadcast safe clip than using the broadcast safe filter.

By using the RGB limit filter and setting the clap to nothing below 0% and nothing above 99% it seems to make the chroma and luma legal every time.

It accomplishes the same thing as the broadcast safe filter, but with much less pixelation around hot areas that were clamped.

If anyone has any feedback for this method please let me know.

Thanks,
Mark

I have a dream…that all media production is 5% technical/95% creativity and not the other way around.

[John Pale]

[Michael Colin] “Have recently been working on an AVID again after years of FCP-only projects, and have to say that there is something in this area I’ve always appreciated about AVID (at least the version I was working on): whenever you apply a color effect to a clip, it automatically snaps to broadcast legal levels. Would love to see this feature in FCP!”

This isnt really true. If you are referring to the old school Avid Color Effect (not the newer Color Correction mode), all it does is clip your whites at 100 and your black level at 0 (7.5 IRE in NTSC analog). Not really what a legalizer does. In addition, your color levels are untouched. You could still easily have illegal saturation and gamut. If you want true legalization, you need to make adjustments in Color Correction mode or use a Safe Color filter, just like in FCP. The only Avid system that had a built in legalizer was the Meridien Symphony.

[Neil Ryan]

I’m not at or near a system, but is there another Effect in the Colour Correction folder (I think the last filter) called RGB Something (‘Something’ being clip or level or …)
I found dropping that on without any adjustment acts as a 100% clipper.
If you find it (sorry about my vagueness) it MAY help you.

Complements of the season,
Neil.

– – – – – – – – –
Neil Ryan
Post Production
The Pod Multimedia
http://www.the-pod.com.au
– – – – – – – – –

[Ben Scott]

basically you should be colour correcting with the colour corrector and looking at the scopes

try get your whites around 90% (blacks always render safe) and try getting colours within the squares for your vectorscope and watch out for saturated white and blacks. also control click to get saturation mode in the waveform scope to see a combination of luma and chroma, useful for final checking of broadcast safe

the broadcast safe is used as a last step and can be put on a nested version of the sequence with the most conservative settings to act like a legaliser

[Michael Gissing]

I concur with the RGB limit filter being more useful and accurate than the Broadcast Safe filter. I tend to use the 3 way CC and other nice plugins like Nattress Gamma and Lyric Shadow highlight first and then the RGB limit for safety.