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WARNING TO NEW COLOR USERS
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[Andy Mees] “I do beleive the point that Jerry was making, and made very well, is that Color is not, as you maintain, for making your show broadcst legal.”
Actually it is. That’s one of the main points of what was formerly Final Touch HD and one of the reasons why we paid $5,000 for the software over a year ago. You set the Floor and Ceiling and forget about it. Final Touch kept your show within those parameters no matter what you did with the grading. I could make an image so bright it would really make you wince, but it was legal.
Final Touch was the ultimate broadcast safe filter in addition to being an incredible grading tool. So yes, it IS supposed to make any show broadcast legal.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Broadcast and independent productions.All Things Apple Podcast! https://cowcast.creativecow.net/all_things_apple/index.html
Read my blog! https://blogs.creativecow.net/WalterBiscardi
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Well I’d never have thought that was a primary function although of course one wouldn’t want to grade something so it were illegal.
I stand corrected Walter. apologies Jeremy.
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[Andy Mees] “Well I’d never have thought that was a primary function although of course one wouldn’t want to grade something so it were illegal.”
When you get it, you’ll see it right in the Project Settings (or maybe the Project Pref) but there’s a Floor and Ceiling Setting. After reading Michael Sandness’ post in Color, it appears that if you set the Ceiling to 99 it should perform as advertised.
That’s the beauty of this app and one of the reasons why we were so happy to get Final Touch HD in the shop initially. There isn’t the concept of a “Broadcast Safe Filter” that you apply when you done grading. You simply set the minimum / maximum levels BEFORE you even start and then just forget about it. Grade to your heart’s content knowing that whatever you do, it’s legal.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Broadcast and independent productions.All Things Apple Podcast! https://cowcast.creativecow.net/all_things_apple/index.html
Read my blog! https://blogs.creativecow.net/WalterBiscardi
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[walter biscardi] “When you get it …”
Ahhh there’s the rub 🙂 Thanks for clarifying for me, am reading Michael’s post now.
Cheers
Andy -
I don’t see that happening… the color bkg is just right now… they’d not have to change that to make it Cocoa don’t think… But they’d have to start over for sure…
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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Hey all,
Thanks for the heads-up on Color…it’s a little daunting at first, as I’ve been doing all my Color grading in After Effects…
Here’s a question:
I’ve brought some HDV footage into Color, made my changes, and then rendered it out…but somewhere along the line, my footage is going from 16:9 to 4:3…I have the setup correct in that it’s HDV1060i 1920 x 1080. The rendered film ends up at 1440 x 1080…
Any thoughts on where I’m going wrong?
Thanks again!
Gino
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[Andy Mees] “I do beleive the point that Jerry was making, and made very well, is that Color is not, as you maintain, for making your show broadcst legal.”
From the color manual preface:
“Color has the tools that professional colorists demand, including:
Primary color correction using three-way color balance and contrast controls with
individual shadow, midtone, and highlight control
Curve controls for detailed color and luma channel adjustments
Up to eight secondary color correction operations per shot with HSL qualifiers,
vignettes, user shapes, and separate adjustments for the inside and outside of each
secondary
Color FX node-based effects for creating custom color effects
Pan & Scan effects
Motion tracking that can be used to animate vignettes, user shapes, and other effects
Broadcast legal settings to guarantee adherence to quality control standards
Support for color-correction-specific control surfaces
And much, much more” -
I don’t believe HDV rendering is supported in COLOR, at least according to the Apple description pages. Has something to do with the mpg nature of the codec…
Also, HDV is native 1440×1080, so its just the anamorphic nature of the format that is being returned. You could probably fix that in the FCP sequence.
One thing to do when sending non-square material to COLOR (for sure in the former Final Touch) is to check the Geometry room… you’ll see why, if you do it. If you have a project setting mismatch, it will show up there.
JPO
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[pixeldustfilms] “.I have the setup correct in that it’s HDV1060i 1920 x 1080. The rendered film ends up at 1440 x 1080…”
That’s all correct. Your HDV footage is really 1440×1080 anamorphic, that’s how the format shoots. FCP automatically scales it back out to 1920 in realtime during playback. Same with DVCPro HD.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Broadcast and independent productions.All Things Apple Podcast! https://cowcast.creativecow.net/all_things_apple/index.html
Read my blog! https://blogs.creativecow.net/WalterBiscardi
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[JeremyG] “From the color manual preface:”
[JeremyG] “Broadcast legal settings to guarantee adherence to quality control standards”
And in response to Michael Sandness’ post in the Color forum, excellent by the way, I’ve been reading the Color Manual and it takes this point one step further on Page 102.
The broadcast safe parameters can be set to match the required QC guidelines. When enabled, they guarantee that your program will not exceed these standards while you monitor your program and when you render the finally corrected media.
Hopefully I’ll have a lot more information on Color by the end of the day today.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Broadcast and independent productions.All Things Apple Podcast! https://cowcast.creativecow.net/all_things_apple/index.html
Read my blog! https://blogs.creativecow.net/WalterBiscardi
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