Norms

[Frédéric Völker]

Let’s say I want my video to comply to

Rec. UIT-R BT.709-5

What setting should I apply exactly ?

Thanks

[Chris Harlan]

[Frédéric Völker] “Let’s say I want my video to comply to

Rec. UIT-R BT.709-5

What setting should I apply exactly ?
“

You mean ITU. Here’s a link to the rec, itself:

https://www.itu.int/rec/R-REC-BT.709-5-200204-I/en

You are asking a very broad question with very little detail. What format/CODEC are you coming from? Did you come from a DSLR? An ARRI? Or is it stuff shot willy-nilly on someone’s phone? What’s the condition of your edited footage? Has a colorist done preliminary work? Have you color-corrected at all? What colorspace are your effects in? Are you converting frame rates to deliver? What CODEC are you delivering in? Or are you delivering on tape? You are not quite asking “which button do I push to drive a car or fly a plane,” but you’re close.

I don’t know where you are starting from. It actually MAY be as simple as adding a filter or two, but mostly it is not. Maybe you are already compliant. Maybe you just need to double check your black levels. Generally, the reason people are hired as finishers for broadcast is because it takes some skill. So, if you really want people to comment on what you are trying to do here, you need to give more specific information.

Try looking at this thread from February:

https://forums.creativecow.net/thread/3/936415

Its very similar to what you are looking for, and its a good example of the kind of detailed questions that can get you useful answers.

[Frédéric Völker]

Hello and thanks.

After I posted I came across the post you mentioned, as well as on this one :

https://forums.creativecow.net/thread/277/21306

where I read this : “Legal broadcast for luma/chroma is a bit of a can of worms when you are working in an RGB environment.

Tolerance is 2 IRE around 0/100 for luminance, ie -2 to 102 is the gamut limit for an iron-clad deliverable, and 20 IRE is the combined over and under for luma plus chroma ( that is -20 to +120) when you are measuring it in composite baseband.”

This would make me think that the premiere pro video limiter using the “smart limit” set at values -20 to +120 would do the trick.

I have all sorts of material (dslr, ex3, sometimes even mobile phones) mixed into the same film.

I am perfectly aware that this needs to be done with dedicated equipment to be 100% sure that the video is broadcast legal. However, I have by no means enough money to invest, and neither do I want, if possible, to stop making movies just for that reason.

I am making color corrections with the colorista 2 plugin in premiere. I deliver in Avi uncompressed, on hard drive.

Let’s say, to use another example, I have to follow these specs :

Color space RVB
Electric level 700mV
Highs +1% 710mV
Lows -1% -10mV
“Tolérance spatiale” (“space tolerance” ?) 2% (as long as 2% of the pixels of the active image is not beyond this threshold)

Color space YUV
Electric level 700mV
Highs +3% 710mV
Lows -1% -10mV
“Tolérance spatiale” 1% (as long as 1% of the pixels of the active image is not beyond this threshold)

Thanks in advance again for any kind of help.

[Chris Harlan]

[Frédéric Völker] “After I posted I came across the post you mentioned, as well as on this one :

https://forums.creativecow.net/thread/277/21306
“

In that thread, you’ve certainly found the right person to ask. Joseph Owens knows this area quite well, as it is his particular livelyhood.

If I were you, I would cut and paste some of the delivery info you’ve included above, along with what you are currently working with–you say film, but obviously it is not; is it also uncompressed AVI?–and I would add them to the query you’ve posed to Joseph.

[Frédéric Völker] “I am perfectly aware that this needs to be done with dedicated equipment to be 100% sure that the video is broadcast legal. However, I have by no means enough money to invest, and neither do I want, if possible, to stop making movies just for that reason. “

Hey, maybe they’ll be lenient. Maybe they won’t. Maybe you’ll be on target. Some stations enforce standards rigorously. Others do not. Standards originally came into being to block analog crosstalk between frequencies, and only later became quality assurance requirements.

One thing I’ll add: They do warn you about crushed or spiked black levels, and one of the easier ways to get those is with blanket use of luminance clamps on video that is clipping. How to define crushed blacks is also a little bizarre these days, as it is actually a desired effect by some people for some cameras. You might find this old Ken Stone article about waveform monitors useful. Its about FCP 7, but going over it might give you enough of a sense to get by:

https://www.kenstone.net/fcp_homepage/fcp_7_scopes_waveform_stone.html