If you are producing your projects for broadcast it is important that your luma and color levels remain at safe values or your project might be rejected. In this video, author Nick Harauz defines what safe levels are and how you can use the broadcast safe effect in Apple Final Cut Pro X to make sure you remain within them.
- If you're producing your videos for broadcast, it's important that your luma and color levels remain at safe values, or your project might be rejected. Let's define what safe level are, and how we can use the broadcast safe effect to make sure we remain within them. So I'm here in my chapter 10.1 project, which I can find in my chapter 10 folder, and there are two things that I am essentially concerned with before I deliver my project to broadcast. One of those is to make sure that none of my color values breach 100 IRE, as, depending on the broadcaster, that signal would be rejected, and I can see here, in fact, that in the luma values of the blue, that that is going to be the case.
Another thing that I want to check, specifically, too is also to make sure that my image isn't overly saturated, and keep in mind, I can do that in the vectorscope, and looking at this image in particular, I can see here that nothing is breaching beyond these points, which means that that signal, or that chroma value, is indeed safe. Dealing with these things, we can do it in multiple ways in Final Cut. Specifically, with dealing with our saturation, we would have to do it manually, and some of those techniques were learned earlier in this course.
Now with broadcast safe, we can also do it manually, but you should know that under your effects, there's one specific broadcast safe tool to learn. Now, before we apply it, I'm going to hop back into my waveform, so we can take a look at the RGB signal and see exactly what the broadcast safe does to this parade. So, let me go do a search here. I'm in my effects browser, which I clicked here to access, and I'm just going to type in the word "broadcasts," and nothing shows up right now, but once I choose all, we can see there that we have the broadcast safe filter.
Even just previewing it, which I can do by skimming over the effects, notice what it's actually doing to your signal. So, the only downside to using broadcast safe is it's not essentially bringing down the levels here in your waveform. It's just clipping them off. It's taking that information and saying, "See ya later." So, this could be a bad thing if you have a lot of detail in your highlights that you want to preserve, but notice that I just placed the broadcast safe on the clip, and indeed, it did clip off those levels.
If I head into my inspector and I go into my video inspector, looking at broadcast safe, you'll see that you have an option for an amount, which I can increase even further, as well as decide on a color space that I'd like to deliver to, so rec. 709 verses rec. 2020 are going to have different delivery values. So this is all available here, but at the expense that it's just simply clipping and cutting off those values which might be important to your image by working with the color correction effects and bringing those levels down in the exposure pane.
So there you have it, a few different ways of making sure that your projects are broadcast safe by either using the broadcast safe effect or doing it manually with the color corrector.
- Using and customizing a color correction workspace
- Making basic corrections
- Creating a secondary color selection
- Applying creative looks with color correction presets
- Restoring color and tone
- Working with raw video
- Applying filmic looks and effects
- Sending clips to DaVinci Resolve
- Legalizing for broadcast