David Dobson
Forum Replies Created
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Your .png IS transparent.
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MV is millivolts. The Lumetri Color Tool can adjust the black levels. There used to be a broadcast safe effect you could apply to an entire sequence (which just truncated the levels at broadcast levels) but that was back in the age of SD Analog broadcast standards.
If you’ve delivered before without issues, then HOW the blacks got so low is the real issue. Perhaps the color space was changed in Premiere or a black solid used as a background was set to be blacker than the color space.
You don’t say how you delivered the video, but assuming it was by file, it may also be the case that is was imported incorrectly by the client; if someone new was doing the work or they updated their systems, then they may have converted your color space incorrectly, or didn’t convert it, or they converted it when it should have been ignored.
I’d say the first thing is to look at your final video in Premiere using the Lumetri Scopes and see if you also see a sub zero black level. If you don’t, check what color space your working in … and then go from there till you’ve exhausted every possibility. You can ask you client for an updated spec sheet on the premise that maybe it has changed and that might prompt some checking on their side. But the QC people are rarely wrong – it’s all they do — and they have a legit answer for everything – everything except creative.
And a -50MV pedestal might be intentional if the ideas was that the graphics were going to be passed through a luma key (so the graphics could be displayed over picture through a switcher – but that’s more of a video tape operation for live broadcast then for deliverables meant to air as is.)
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Me too – it happens sporadically – has been going for a while.
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If when you converted to 24 frames there were no unwanted frames, then the xml should be fine.
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That should work, I think. It’s the same number of frames either way, just that the timeline plays them slightly slower in 23.968 version. Obviously test it with a copy of the final mix (although, if you put the 24 frame audio into the 23.968 timeline, Premiere will change it up accordingly and it will play fine.)
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Your delivery specs are 1080i 29.97.
The easiest thing to do would be to shoot the exact export specs and do the animations in the same specs. Or do the animation in 30p and then cut that into your 29.97 timeline and let the computer do the math.If you want to shoot progressive, try 60p. Or even 30p. If you shoot 24p, then your output will have to invent frames and you’ll get the lovely film to tape transfer blur that may or may not be what you want.
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Doesn’t iMovie transcode the footage on import?
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well, that’s sure weird, what with all the 23.976fps presets and all.
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also there is the 4 and 8 point matte effect in pPro which can be keyframed. Also in After Effects key framing a matte.
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for DVD, export using the mpeg2-DVD presets.