Rafael Amador
Forum Replies Created
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Steve,
All those specs you can get with you computer and a small camara with Firewire.
The legal levels of your film, you must set them with your editing or compositing software (PP,FC, etc) even if you don’t go to print to video. The rest of the parameters are automatically set when convert from digital to analogic. Any camera, any Video card with Video Out (Composite or components) do it alone. In any case you get a standard PAL or NTSC video signal.
Salud,
rafael -
Today I’m 49. happy-birthday to meeeeee..
The only format (of the olds) I’ve never touched is the 2″ ( Once I sow one in london).
My first job in TV was packing adds to be broadcasted. Just sticking them toguether in a 90 minutes Betacam tape, with 1 sec black in-between.
The matter of the preroll was not important (5 secs pre-roll can be a waist of time when your edditing news.Betacam works fine with 3s). The commercials used to arrive with Bars, tone (1000Hz, 0 VU) and a black just before the first image frame. Also the first frame image in the 00.00.00 TC. They used to be some specs, quite but flexible. One minute bars and 20 or 30 s black, but In the end nobody cares too much. In Christmas that you’ve got hours of commercials to be broadcasted the day after, who can stop to set properly the levels of a commercial?
Only when the advertiser calls you by phone screaming: What happens with my add that seems that the screen is burning?. Or what about the audio?. No body can hear the jingles. Then we used the bars and tone, and we corrected the levels.
Bars and tone, seems not much funny, but is the only way to make sure that your film will be properly broadcasted. Even if somebody make a bad copy (anagogic) of your film, if you adjust the system with the bars, your film get the proper levels. Is the only way for you to show that when looks or sound bad when broadcasted, IS NOT YOUR FAULT.
sorry for the nostalgia (Betacam I love you)
Salud,
rafel -
Hi Brian, I answer to your message to the AE forum, but I wrote last night 3 AM. probably not much easy to understand.
– Talking about BARS. what means 75 or 100 %. What means that?
That can means AMPLITUDE OR SATURATION. The PAL bars are 75% AMPLITUDE and 100 % SATURATED (except the White Bar that is 100 % amplitude, “0” saturation. In the Gray scale we can not talk about saturation. We got pure luminance. The Chroma components are 0).
Thats means that for example the RED BAR will be PURE RED (100 %SATURATED) with an amplitude of 75%. Talking in “RGBl 8-Bits” the higher value of Red, Green and Blue you can get is 255. So this would be Red of 191 (de values differs if we talk in YUV).
So if you use a Color Picker you would see that your bars are
– RED BAR : R= 191 G= 0 B= 0
– GREEN BAR : R= 0 G= 191 B= 0
– BLUE BAR : R= 0 G= 0 B= 191
The Yellow, Magenta an Cyan. similar:.
YELLOW BAR: R= 191 G= 191 B= 0. Etc.
The WHITE BAR would be R= 255, G= 255, B= 255.
NTSC BARS are the same, but the WHITE BAR is 75% amplitude (R=G=B= 191)Your specific questions;
1) The bars generated by PP must be 75%. The 100% Bars, are ILEGAL. They fall out of the broadcast specs. They can only be used for testing but not broadcasted. There is not point to make them available in PP, FC or so. Any way. How to know if the bars are 75 or 100%? You can use the Color Picker method I told you, but the easier way is to use the Vector-scope (FC has, I don’t know PP). The Vector-scope of FC is set for 75% Bars. When you set the bars on the time-line, the lines that represents each of the bars, must reach the small squared boxes.
If you use the one of SyntethicAperture, be careful because you can adjust it for 75 and 100% bars (just set it at 75 and check that the lines reach the boxes).
2) Your second question: This people had made a big mess when they ask the specs. they are mixing audio terms (db’s and VU) with video (0.3 V + 0,7 V is the amplitude of the full video signal. 1V from peak to peak).
SO, DON’T WORRY, DON’T WORRY.DON’T WORRY..
They just have made a big mess trying to explain what they want. These seems instruction for printing video in an anagogic desk, Beta-cam or so (they talk about Vertical interval time-code, for example)
They are just asking for a standard PAL signal with legal levels. You just have to see that the levels of the Luminance an Chroma are legal (FC warns you when they are not. And if not legal, just to make a simple levels correction).
So just pic your time-line, insert the PP PAL bars and (if you got correct levels) when you print to video anagogic, your video card will take care that all the parameters (Syncs,horizontal length, horizontal and vertical blanking, etc) will be OK.
Talk with some expert about the audio levels, because they are talking about analog levels and they are completely different from the digital.
They talk as well about the 80% Safe Area. When you play any thing in a TV set, a god piece of the image is cropped. So think about that will be cropped a 10% each of the sides. They want your film to fill the screen but don’t miss any action (or titles or so0 that could be cropped.
Well, I hope i didn’t mixed you up a bit more.
salud,
rafael
PD: I’m finding than at great deal of the problems that people bring to the forums is because the lack of a basic knowledge of the Video signal (PAL and NTSC). People think digital, works digital but they shake when anagogic. But Video is anagogic. We see and hear (and feel) anagogic. We film anagogic (although we record digital) and we project in any screen anagogic.
Digital people are scare of a technology that didn’t change in 50 years and that can be understood reading five pages of paper. Some times I think to post a letter in defense of the anagogic video. Is one of the most brilliant and “human” technologies ever developed by the human kind. And even been quite old, still alive. in fact all the new formats, standards etc are based in that all system. -
Another posible solution: Open a new project. Select everything from your old project Brownser and drug and drop to the new one.
When I have prblems as yours, I do like dat and 99% of the times its works.
salud.
rafael -
Hi Brian,
Yes that’s PAL. But is a big mess. Specs for recording analogic. Beta-cam or so. These are the parameters of the PAL composite signal.
When i learnt this 20 years ago, the horizontal line used to last 64 msecs.(and thanks God, didn’t change) That is the same that they are asking you (12msecs horizontal blanking + 52 msecs the active line).
To see if all the parameters of your signal are OK, you would need an external oscilloscope. With the wave-form monitor that you get in FCut or ColorFiness you can see only the active image. you can not see a lot of the signal (Sync level, vertical and horizontal blanking, lines for test signals, vertical interval time-code, etc) because al this invisible part of the video signal, it doesn’t exist in your digital file.
All this things are added to the image in the moment that you output a video signal. And your system do it by itself. For example, if your computer is connected to an external monitor, PAL or NTSC, your video card add all the syncs.
Just put in the beginning of your film the EBU(UER) bars. FCut has a bars generator. I don’t know PPro. The only thing that you have to be careful is with yours picture levels. keep the levels legal. FCut warns you when them are not so.
In PP i don’t know how it works. In AE you should use a video-scope to control the levels. I use a plugin of SinteticAperture. The window is quite little, but enough to help you adjust your image levels. Any way there is an effect in AE to keep the levels legal.
About the Vertical Time Code, if you go to print to video, in many magneto-scopes you can choose the lines where to record it. Just choose the lines they tell you. But if there is not VITC they don’t care. So don’t worry.
They also talk about the Safe Area (80%). this is for you yo take in account the part of the picture that could be cropped when watched in a TV set.
The audio levels they talk about, are to be monitored in an anagogic system. For that you should talk with somebody more in the audio field.
I hope I haven’t confuse more.
Salud.
rafael -
I don’t know Chip but in the Compressor presets, when you open the folders you (I) found the MPG2, the Aiff and AAC. I think in Compressor one, instead of Aiff they used to write PCM (Aiff, Waw).
Andkin is right. The problem of the Aiff is that rise a lot the data rate so in some player, if the image hasn be compressed enough, will play jumping. But as I said, I only use ACC if I must set to or more audios to the movie.
Salud,
rafael -
The warning you can uncheckit in the preferences.
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As long as I remember two or thre years ago, Apple used to ask for the the numbers of the shoftware to update from their web site. After, updating with SoftwareUpdate, that finished. If they would have the way to get that only the people with legal copies could update, they would do so. I think Appel prefers a Mac running a copy of FC, than a PC running any other software. They are not stupid.
Rafael -
Yes. you probabli captured with an old codec. But if its looks well in an external monitor, go ahead.
Any way you should have a look at that. if you have used an old BM codec you there is a difference in the way that Gamma is managed. BM has released an script for FC adlust that gamma.
salud,
rafael -
Hi WaterBoy,
Open your file with QT. Open a new window. Copy and paste your file in the new window, and try to save it as autocontained in the other disk. May work.
Yours is very curios problem. Thats normally happens when disks are full or too fragmented. If the file would be corrupted I think you couldn’t make any coppy. And if in the end is corrupted, try FileJuicer. Works grate.
Salud,
rafael