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WARNING TO NEW COLOR USERS
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Wow…. that’s quite a set of release notes. At least the first release of Photoshop CS3 was tagged “beta”. This will be a great product and a huge asset when it’s worthy of a whole version number.
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[walter biscardi] “Are you saying the notes claim even if you set for a ceiling of 99 it can still output above 100?”
Not the way I read it, it gives a such a specific value to enter it has to be a carry over from Final Touch.
The default values of the Ceiling IRE and Floor IRE parameters of the Broadcast Safe settings do not limit the video signal as expected. To limit luma at 100 IRE, the Ceiling IRE parameter should be set to 99.3337357. To limit luma at 0 IRE, the Floor IRE parameter should be set to 1.187550.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows -
[gary adcock] “Not the way I read it, it gives a such a specific value to enter it has to be a carry over from Final Touch.”
What about this part?
The borders of extremely high-contrast features (such as the boundaries of specular highlights and computer-generated graphics) may exhibit spikes over 100 and under 0 when outputting to external video scopes, despite the Broadcast Safe settings you
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No. FCP 5.1.4. I just did it to make sure I wasn’t on crack. You can change the sequence from non-drop to drop in your sequence settings with a checkbox without problem, at any time. You don’t need to make all kinds of duplicate sequences unless you want to.
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You’re right. I was thinking Editing Timebase in the Sequence Settings -> General Tab. The timebase can’t be changed, but drop frame timecode display can be. Great catch. My apologies.
-Ben
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There is a user preference in Color that sets a broadcast legal only parameter control or broadcast only after output setting.
from the manual:
“If you turn Broadcast Safe on right away, illegal portions of the signal are limited
immediately, and can it be difficult to see exactly how much data is being clipped.
When you -
Your not changing the timebase… you’re changing a frame Lable/counting system… timecode.
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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[Jerry Hofmann] “There is a user preference in Color that sets a broadcast legal only parameter control or broadcast only after output setting.”
Sheesh you guys…jumping and complaining about an application before you even get your hands on it and see what controls it has.
This ANTICIPATION is going a bit far…
Shane
Littlefrog Post
http://www.lfhd.net -
[Shane Ross] “This ANTICIPATION is going a bit far…”
i hear you, but the long list of things that are not quite working with Color on release day are glaring at all of us.
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Color is grading software, not color correction software. So it’s whole workflow is new to FCS users. It’s not your typical FCP round trip workflow aka Motion/or Livetype at all. All media has to be QT movies no tiffs, no FCP stills, no titles etc. (those things have to be exported as QT movies before you can grade it) Color won’t playback transitions.
Only whole sequences “send to” Color for starters. Hint: Like a film workflow…
You have to look at it as something other than a plugin effect workflow wise. It’s not cc filters, It’s grading software. You can export back to FCP, and then take CC from there on too. so if it’s out of safe, you can CERTAINLY finish it back in FCP. You’ll find it’s uses are immense, and the learning curve steep. This is colorist’s software, not a cheap plugin.
For a 1.0 release, from how it integrated with FCP when it wasn’t Apple’s product (what? six MONTHS ago), it’s remarkable the improvements in that arena according to some folk that I’m sure would know. They ran the software with FCP in those days and have run Color now.
Before one decides it’s some sort of failure, learn what it is and what it does (and doesn’t) do… try it and if doesn’t fit into your workflow or liking don’t use it.
Why worry and sort of “pre complain”… You didn’t pay much for it. I was totally shocked when Apple just bundled $25,000 software right into Studio 2 and didn’t raise the price a nickel quite frankly.
I’ve used the softare and it’s incredible. Just what was missing in my arsenal. Incredibly powerful grading software. The workflow will likely evolve over time too. But there’s no other NLE software out there with the heretofor expensive power of Color “tossed in” ala Apple and Final Touch don’t think.
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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