[Frédéric Völker]

“Tolerance is 2 IRE around 0/100 for luminance, ie -2 to 102 is the gamut limit for an iron-clad deliverable, and 20 IRE is the combined over and under for luma plus chroma ( that is -20 to +120) when you are measuring it in composite baseband.”

This would make me think that the premiere pro video limiter using the “smart limit” set at values -20 to +120 would do the trick.

I have all sorts of material (dslr, ex3, sometimes even mobile phones) mixed into the same film.

I am perfectly aware that this needs to be done with dedicated equipment to be 100% sure that the video is broadcast legal. However, I have by no means enough money to invest, and neither do I want, if possible, to stop making movies just for that reason.

I am making color corrections with the colorista 2 plugin in premiere. I deliver in Avi uncompressed, on hard drive.

Let’s say, to use another example, I have to follow these specs :

Color space RVB
Electric level 700mV
Highs +1% 710mV
Lows -1% -10mV
“Tolérance spatiale” (“space tolerance” ?) 2% (as long as 2% of the pixels of the active image is not beyond this threshold)

Color space YUV
Electric level 700mV
Highs +3% 710mV
Lows -1% -10mV
“Tolérance spatiale” 1% (as long as 1% of the pixels of the active image is not beyond this threshold)

Thanks in advance again for any kind of help.

[Frédéric Völker]

Hello and thanks.

After I posted I came across the post you mentioned, as well as on this one :

https://forums.creativecow.net/thread/277/21306

where I read this : “Legal broadcast for luma/chroma is a bit of a can of worms when you are working in an RGB environment.

Tolerance is 2 IRE around 0/100 for luminance, ie -2 to 102 is the gamut limit for an iron-clad deliverable, and 20 IRE is the combined over and under for luma plus chroma ( that is -20 to +120) when you are measuring it in composite baseband.”

This would make me think that the premiere pro video limiter using the “smart limit” set at values -20 to +120 would do the trick.

I have all sorts of material (dslr, ex3, sometimes even mobile phones) mixed into the same film.

I am perfectly aware that this needs to be done with dedicated equipment to be 100% sure that the video is broadcast legal. However, I have by no means enough money to invest, and neither do I want, if possible, to stop making movies just for that reason.

I am making color corrections with the colorista 2 plugin in premiere. I deliver in Avi uncompressed, on hard drive.

Let’s say, to use another example, I have to follow these specs :

Color space RVB
Electric level 700mV
Highs +1% 710mV
Lows -1% -10mV
“Tolérance spatiale” (“space tolerance” ?) 2% (as long as 2% of the pixels of the active image is not beyond this threshold)

Color space YUV
Electric level 700mV
Highs +3% 710mV
Lows -1% -10mV
“Tolérance spatiale” 1% (as long as 1% of the pixels of the active image is not beyond this threshold)

Thanks in advance again for any kind of help.

[Frédéric Völker]

Hello all,

Please, considering that buying stuff is not an option, what is my best bet at observing rec. 709 using only premiere pro controls : video limiter and broadcast colors effects ?

Should I use both or only one at the same time and how should I set their values ?

I work in PAL values.

Thanks a lot. Any help greatly appreciated !

Fred

[Frédéric Völker]

Let’s say I want my video to comply to

Rec. UIT-R BT.709-5

What setting should I apply exactly ?

Thanks