LOL – Has anyone noticed that Broadcast Safe doesn’t work?

[Mitch Ives]

[Tapio Haaja] “Wait till Lion and couple FCPX upgrades. It will come in 2-6 months. I’m 100% sure.”

Not sure how you can be sure of anything at this point, but I really do hope you’re right…

Mitch Ives
Insight Productions Corp.
mitch@insightproductions.com
http://www.insightproductions.com

[Rafael Amador]

Making a Color Grading in FCPX?
Well, the new scope at least looks better.

[Kevin P McAuliffe] “Doing some work for my upcoming webinar (shameless plug) over at Film Making Webinars, and was setting up some color correction effects, and figured, since I do CC on an hourly basis, I would check out the very cool waveform monitor to check my levels. Since I’ve crushed the blacks in my shot (below 0), I figured I’d throw the Broadcast Safe effect on to crop things off at 0, and to my surprise (not), It did absolutely nothing. “
You are now RGB-Land.
Forcing RGB conversion, when your footage is YUV, is just a VERY WRONG procedure.
But this is the Apple way to make sure that anybody can legalize a signal.
Destroying presets? Yes, but even my grand mother can use them.

So, when tweaking colors, think that you are not in FCP anymore, but in “Apple Colors”, although you have no control on almost nothing.

In FCP, beside the BS filter, you needed to use a “Proc Amp” or other filter to clip blacks at “16”.
The “Proc Amp”, is the FUNDAMENTAL video filter, and I guess doesn’t exists anymore in FCPX.
In FCP, an RGB Limit, is needed too, for off-specs RGB values.

[Tapio Haaja] “Yeah scopres show you super white (>100 IRE) and super black (<0 IRE) which are not outputted to screen because 100 IRE is mapped to 255,255,255 RGB and 0 IRE is mapped to 0,0,0 RGB but it’s great FCPX can process those “over limit colors” much better than FCP7.”

FCP is great on managing “SuperWhites”: You can chose mapping RGB to “Video Levels” or to “Full range”.
I wonder if you have that option in FCPX.
Generators (Text, Matte, Color/Solid Color) worked in different fashions (mapping to Video or Ful-range) but you should be aware of that.

[Tapio Haaja] “…. is mapped to 0,0,0 RGB but it’s great FCPX can process those “over limit colors” much better than FCP7.”
If you accept a dirty trick as forcing you to go RGB just because you don’t know how to work in YUV, for you may be better.
Is like forcing you to go to Color just to rise luma.
Do you think is that a pro workflow?

[Tapio Haaja] “Actually FCP7 didn’t even have support to super blacks and only few filters worked correctly with super whites.”
you talking seriously?
The only problem with FCP BS filter, is that you need a certain knowledge on what a video signal is.

The FCP Broadcast safe filter was designed around the composite/analog, although beside RGB, we only manage digital components.
If you have no base on that old fashioned technology, your won’t ever understand that filter and his very well known bugs and shortcomings.
We have been using FCP BS Filter for years without any problem.

Apple has been too free to do whatever they wanted inside QT/FCP. They have been using very arguable procedures and it seems that with FCPX they will keep on the same tonic.
rafael

http://www.nagavideo.com

[Tapio Haaja]

Hi Rafael,

I think you’re missing some points. Yes Final Cut Pro X rendering engine is RGB but it’s 32-bit floating point rendering engine so there is more than enough headroom to process all the possible superwhites and superblack YUV colorspace can produce. It’s just your computer display that can’t display those colors. Put the colors are still there and colors are saved to ProRes files.

And BTW Magic Bullet Colorista II, Apple Color, After Effects etc. all work in RGB so there’s nothing wrong in RGB. It’s just how YUV->RGB->YUV conversion is handled and FCPX handles it great. No clipping with super whites or blacks.

It’s same with audio. You can let your audio go over 0dbfs and it sounds distorted in speakers but next filter is still able to use audio data going over 0dbfs because processing inside is 32-bit floating point and there’s lots of headroom.

Best
Tapio Haaja

[Tapio Haaja]

And handling colors with stills is light years ahead FCP7. Final Cut Pro X can accurately read color profiles from stills (so no more gamma problems) and you can also manually override colorspace to (sRGB, Adobe RGB, NTSC, PAL, HD).

Tapio Haaja

[Patrice Freymond]

Sorry to bring this back to the original topic, just thought I’d mention that the BS filter is set by default to NTSC. When switched to PAL the correction changes. Just something to be aware of.

patrice