Orange vests bleeding/blooming when displayed on tv?

[Julian Woods]

Thanks Jason. Rafael, can you tell me why you think I should do this. I am going to read the video scope.

[Rafael Amador]

If you don’t look to the vectorscope how will you know that your signal is wrong? And how will you set it properly? By eyes?
You even may discover that your signal is OK and that the TV set where you’r watching the DVD needs to be fixed.

Mac OX 10.5.2-FC 6.02-QT 7.4.1
G5 2x2Gh 4GbRAM-BlackMagic Extreme
PMBP 17″Core2Duo 4GbRAM-AJA ioHD
JVC DTV-17″
SONY EX-1 . SONY PD170
..and always a big mess on top of the table.

[Walter Biscardi]

[julian woods] “I used the broadcast safe but It didn’t seem to do much, should I select extremely conservative? Thank you very much for helping me guys!”

Broadcast Safe doesn’t do anything for saturation, and if anything it will make it worse by just clipping the colors off. You have to pull down the saturation properly using a color correction filter.

Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.

STOP STARING AND START GRADING WITH APPLE COLOR Apple Color Training DVD available now!
Read my Blog!

[Walter Biscardi]

[julian woods] “Thanks Jason. Rafael, can you tell me why you think I should do this. I am going to read the video scope.”

Reading the scopes? This is an absolute must for video editing. You can’t judge colors and video levels by eye. You must learn how to properly read the Waveform, Vectorscope and Parade scopes at the very least. The FCP manual has some nice explanations of what these scopes do and how to read them.

Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.

STOP STARING AND START GRADING WITH APPLE COLOR Apple Color Training DVD available now!
Read my Blog!

[Julian Woods]

Thanks again guys, What I find very strange is that when I have a close up of these vests they do not bleed. but when the camera is panning fast across the track, and in most of all in wide shots, they flash really bad. I don’t understand the logic behind this. It’s almost as if the intensity of the color and the smallness of the shapes do not work together.

[Rafael Amador]

Julian,
Try first to desaturate those oranges. You may try too the Nattress “Chroma Smoothing/Sharpening”. In some codecs like DV, where the red spread all around the borders, works like magic. The color goes back to the place.

Mac OX 10.5.2-FC 6.02-QT 7.4.1
G5 2x2Gh 4GbRAM-BlackMagic Extreme
PMBP 17″Core2Duo 4GbRAM-AJA ioHD
JVC DTV-17″
SONY EX-1 . SONY PD170
..and always a big mess on top of the table.

[Chris Coote]

Walter – I use the broadcast safe filter all the time to bring down illegal saturation levels. I find it is a fairly quick way to softly bring down just the illegal saturation while not affecting the legal values too much. I get the rest of the shot looking good first with the 3-way, and then apply broadcast safe at the conservative setting. The show I am working on has a set shot outdoors in full sunlight with a lot of yellow which screams off the charts in saturation. To try to isolate just the yellows would take me forever to do manually considering it’s a three camera shoot. I am scoping everything externally also.
Am I doing something wrong here?

[Chris Poisson]

Julian,

The 3 way color corrector allows you to sample and/or isolate colors with the limit feature and an eyedropper. You need to study up on how to use this filter, it’s all in the help files.

Have a wonderful day.

[David Roth weiss]

[julian woods] “when I have a close up of these vests they do not bleed. but when the camera is panning fast across the track, and in most of all in wide shots, they flash really bad. I don’t understand the logic behind this.”

Julian,

What you’re encountering here is best described as compressor overload. Each frame of video has a maximum bitrate which cannot be exceeded, and that fixed bitrate is used to interpolate both the changes from one frame to the next (i.e. movement) as well as the color information, essentially trying to tell the story of that frame but with many fewer pixels.

In CUs with little movement, fewer pixels change from frame to frame, allowing the compressor additional overhead for better interpolation (i.e interpretation) of color. In the case of shots that pan, by the time the compressor gets around to interpolating the over-ramped orange in those frames, its used up most of its overhead on the interframe and intraframe motion, so it just chucks the few bits remaining at the equation and it makes up that color with the smallest amount of color information and the fewest number of pixels possible.

Does that make sense???

David

David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los Angeles

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

A forum host of Creative COW’s Business & Marketing, and Indie Film & Documentary forums.

[Julian Woods]

Wow, thanks for that. That’s a great explanation. I will see what I can do today. Wish me luck.

-Julian