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How do I add a Broadcast Safe?

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David Scott
How do I add a Broadcast Safe?
on Sep 21, 2012 at 11:27:48 am

Hi there
I'm editing a rock concert with lots of nice bright coloured lights.
It's in PAL ProRes 720x576 anamorphic.
I want to keep the punch but then add a broadcast safe to legalize it. In FCP I just drop on a filter... in Color there is a tick box... what's the procedure in Resolve for doing this? I've got thousands of shots and really don't want to have to individually tweak the saturation curves for each one!
I've seen some posts suggesting using a LUT so I tried adding to my last node "1D Output LUT - Datatovideoscale"... which successfully clamped the chroma and highlights, but then also lifted the black levels 10% so the blacks were gray!?!
Am I right to use a LUT? And how do I stop it lifting the blacks?
Many thanks

David Scott,
Senior Editor,
GOD TV (UK)


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Andrew McKee
Re: How do I add a Broadcast Safe?
on Sep 21, 2012 at 12:43:58 pm

Resolve uses the full spectrum of colours in the RGB scale and (in the viewer) shows you exactly that. When FCP, however, shows you a piece of video which only uses up the broadcast legal range of colours and brightness values it expands them them out to the full RGB scale in the viewer. Broadcast black and white are slightly grey (16 and 235 luma on an 8 bit scale), but in the FCP viewer you see them as black and white. In Resolve you have the option to scale down the video from the full scale to the broadcast scale whilst it outputs to a monitor, or render out to QT files. It basically does what the LUT you have applied does so there is no need for the LUT. On render just choose the option for legally scaled video and it will do it automatically. When you get that into FCP it will look correct in the viewer but any signal you send out to tape or to your monitor or render out from FCP will be legally scaled video.

This does not however necessarily mean it will be broadcast legal. Ideally for broadcast you should have a scope monitoring the scaled image coming out of an I/O box so that you can check everything is legal. But if you need to make something legal without that, you could just add the broadcast safe filter when you get back to FCP.

Andrew McKee
Editor/Colourist
Avid Certified Instructor - MC6
Apple Certified Trainer - FCPX
Pixelwizard.net
Futureworks.co.uk


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David Scott
Re: How do I add a Broadcast Safe?
on Sep 21, 2012 at 12:58:02 pm

Hi Andrew
Thanks for the detailed reply.
I'm already using an external scope to ensure everything is scaled correctly and just need the Broadcast Safe as a final safeguard because all my material goes to air.

"In Resolve you have the option to scale down the video from the full scale to the broadcast scale whilst it outputs to a monitor, or render out to QT files."

...I've already hunted for this option but can't find it??? Please point me to where it's hidden!

I'm using Resolve 9.

Many thanks

David Scott,
Senior Editor,
GOD TV (UK)


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Chris Hall
Re: How do I add a Broadcast Safe?
on Sep 21, 2012 at 3:38:52 pm

alas, there is no "broadcast safe" setting in resolve. do a quick search of the forums for this and you'll see. While DaVinci's "video levels" will not allow illegal luma levels (ie anything above 100ire on a waveform), it does not clamp down on color gamut excursions (ie, illegal chroma levels). I too have worked with highly saturated concert footage amongst other things and found that the only true way to make these "out of gamut" errors legal, is to run the program through a a legalizer (harris is good), or painstakingly make hand altered adjustments to the offending shots to legalize them within resolve (which is a better way to do it of course, but for long form programming... not very efficient.).

Chris Hall
Colorist - Basher Films
Pasadena, CA


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Ben Scott
Re: How do I add a Broadcast Safe?
on Sep 24, 2012 at 10:03:48 am

track effect could be used with light clipping of signal throughout, probably better with luma and RGB values

for saturated sections make a corrector and save as still, then apply as grade additionally to the existing grades on suspect shots. e.g. create some grade fixes for things like bright reds isolated through saturation curves or keyers


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