Scaled output slightly peaking over 100 IRE?

[Joseph Owens]

My experience with an outboard (Wavetek/Leitch) scope is that it is pretty much impossible to generate any luminance values above 100IRE out of Resolve. You can crank the gains until the cows have come home, had dinner, brushed their teeth, done the crossword puzzle and gone to bed, got up again to get a glass of water, watched the news, and then went to sleep.

Also in my experience, the FCP “legalizer” is a joke, a bad one, worse than the cows coming home, etc.
You are allowed up to 102IRE in most cases, so a little bit of “fuzziness” is not going to be the end of the world. What is omitted in the FCP version is that it utterly fails to deal with anything around the 0 IRE area, which can be just as critical — especially if you’re dicking around with flipping between Linear 709 and full scale RGB. Be careful with that, especially if you are using ProRes 4444 and particularly if you’re migrating between applications and systems. I’m thinking specifically about Media Composer and After Effects.

The reality of the 120IRE threshold is that it is combined Y+C that is of concern for that parameter. Something that is somewhat difficult to simulate for most digital scopes…

jPo

You mean “Old Ben”? Ben Kenobi?

[Ola Haldor voll]

Words of wisdom, everyone. Thanks, Joseph.

I’ve never had anyone else complain on my jobs earlier, so it hit me as a big shock when this client said “we’re peaking above legal levels – do something about it asap!”

It strikes me they either don’t know what they’re looking for and they want to be super safe on behalf of their customer – the TV channel.

Or, they’re on to something I cannot seem to understand.

I still think it’s weird that rendered ProRes422 files have this fuzziness, while playback from Resolve is flawless. It doesn’t matter if I monitor the rendered files in FCP, Mediaexpress or Premiere. It’s all the same. Fuzzy highs.

[Knut Jansohn]

Did you try soft clip?

[Stig Olsen]

Hi Ola,

Is it the customer or the broadcast company that tells you this is not legal?

You have several options for the norwegian TV-channels:

1. Work full range all the way – when you deliver through Adstream or Adtoox, use the built in E.C coverter and the scale the full range signal to legal signal for you.

2. Output to tape through a deck that scale the full range signal to legal.

If you want to play legal all the way – soft clip the highlights, you dont need the video-LUT.

Do not use the broadcast safe layer in FCP or in Avid. It clips the signal and it will look like a real mess on TV. Been there done that.

[Michael Cinquin]

why don’t you render full scale with a 1D LUT such as “DataToVideoClip” ?

Michael Cinquin

Final Cut Pro – Avid Media Composer editor
DaVinci – Color – Baselight colorist
Color profiles for Color
http://www.michaelcinquin.com/tools : tools for FCP | Color | RED | subtitles | Cinema Tools | Timecode – Keycode calculator

[Ola Haldor voll]

Late reply. Been busy.. And forgot about the thread.
It’s the technician at the production company who says it’s not broadcast safe.

Got another phone call now. They still say the signal isn’t “broadcast safe”, even though it’s well below 100IRE. It’s going for both national TV and abroad.

I have no idea what more I can do really.

[Margus Voll]

Can they be more specific ?

sounds like they just say we do not like it but there should be some specific reason

—

Margus

https://iconstudios.eu

[Knut Jansohn]

You might aske them for their techical guidlines / standads.
Or figure out the guidlines from the broadcaststation. Some stations declare broadcast-safe ‘overcautiously’

It’s possible to get non legal cvbs-levels with legal RGB-levels. Therefor tektronix had developed the arowhead-display. Maybe there is an issue? I don’t know if that is still important in your country. In Germany the anlog broadcasting ends this year (30.04.) 🙂

At least you could use a hardware-legalizer to rescue this job.