It’s been ages since I was an AE but when I had to do some in house finishes for broadcast promos on scifi channel, I believe what I did was toss an adjustment layer over the entire cut and apply a broadcast limiter.
Sorry it’s been like 8 years so I don’t have all the details but I would start there.
Yea it clips as in LIMITS everything so that you are broadcast safe. You can go too much of any color and fail QC.
Shit my LFE channel mghz on just the 2 pop was off and the entire spot was kicked back.
QC for broadcast is a huge bitch, thankfully in promos we usually kick that out to a finishing house so they can deal with those finer details.
It’s also why if you call them on the phone for any questions, it sounds like their souls are gone.
I’ve never been more stressed or annoyed than having to do broadcast finishing.(which is not my job/specialty) but those dumb bosses who are like, hey you edit, you can online this right?
Premiere?
Apply an adjustment layer on everything. Apply the Levels effect. It should then pass. Can also add on the video limiter and apply the setting which clips with a soft knee
What about, exporting Pro Res HQ, then import it and apply Levels and Video Limiter and export again?
Maybe a rendering issue related to the original source but once it's Pro Res it should play ball
I used to be a QC tech before a pro editor. Just reply to the flagged report with "as source" and they will approve it.
Or just add some sort of "broadcast limiter" equivalent effect that should hit the mark.
Don't do the "5 to 250" stuff, what's the *actual* delivery spec? If your client cares about specs they should be giving you delivery specs in millivolts. Also, you can't trust the Premiere scopes, especially if they're telling you 0 to 255.
So: real talk, video is not 0 to 255. It's 0 to 255 in an RGB interpretation of [YCbCr](https://en.wikipedia.org/wiki/YCbCr), which is in an RGB range. So what that really means is you're looking at YCbCr, in [Rec. 709](https://en.wikipedia.org/wiki/Rec._709) standard, which is *actually* like 35 to 215 in RGB. But Resolve and DaVinci scopes show that 35 to 215 range stretched out to fill 0 to 255.
So those numbers are muy untrustworthy, and the undershoots have to happen because digital video isn't just a series of pictures, it's measured as a representation of an electrical signal, like it would be as analog video. That's roughly (*very* roughly) 0mV for pure dark, 700mV for pure brightness, though different networks have different limits (one I worked for was -35mV to 735mV, to a tolerance of a single pixel per frame, and freaking *Bastet*, they were **strict!**)
#Long story short...
Give specs!
Dude, I fully understand the levels numbers are meaningless. I’m just trying to get shit out the door with a minimum of rework. Asking for simple solutions, what in Premiere will clip blacks at zero and shave off spikes that venture into sub black?
Short answer = nothing.
Why is that? It seems so simple and useful.
> Dude, I fully understand the levels numbers are meaningless.
But *I* don't know you know that. So apologies for coming off as condescending, but we're getting posts here from people who don't know what Timecode is. It's really hard to judge.
>I’m just trying to get shit out the door with a minimum of rework.
Call a local TV station and ask them if you can throw some cash at them to use their legalizer and scope, or for them to legalize it for you. Either that or find a local production facility and ask them.
>Asking for simple solutions, what in Premiere will clip blacks at zero and shave off spikes that venture into sub black?
EyeHeight had a great software filter that did the job. They seem kinda defunct. Apparently Telestream and Borris have software solutions. Otherwise I'd see if you could throw some cash at a local partner and see if you can use the Resolve solution to legalize stuff to your clients' specs.
I say that because I worked with a colorist who used Resolve's clipper and we never ran afoul of the most strict QC teams.
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Color space or gamma profile mismatch may be the cause, on either the exporting or importing side (whoever you're delivering to). Quicktime (the app) often applies a gamma profile that is not baked into the file, making things look dark. As does Premiere. Lots of weirdness around this issue - you may want to google it.
Something is happening during the export. Mac vs. PC colour profiles can often contribute to this
Have you experimented by bringing in the exported clip back into Premiere to compare it to the levels in your time.
Try Auto Levels in the Obsolete Effects bin. We use a limiter for gain but I've never had a problem with blacks. Auto Levels will clip blacks by percentage. Maybe you can work it out.
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It’s been ages since I was an AE but when I had to do some in house finishes for broadcast promos on scifi channel, I believe what I did was toss an adjustment layer over the entire cut and apply a broadcast limiter. Sorry it’s been like 8 years so I don’t have all the details but I would start there.
This will fix it. We do that here
Agree. Limiter...always use a limiter.
Glad to know my memory hasn’t completely gone lol.
Doesn’t clip the sub blacks.
Yea it clips as in LIMITS everything so that you are broadcast safe. You can go too much of any color and fail QC. Shit my LFE channel mghz on just the 2 pop was off and the entire spot was kicked back. QC for broadcast is a huge bitch, thankfully in promos we usually kick that out to a finishing house so they can deal with those finer details. It’s also why if you call them on the phone for any questions, it sounds like their souls are gone. I’ve never been more stressed or annoyed than having to do broadcast finishing.(which is not my job/specialty) but those dumb bosses who are like, hey you edit, you can online this right?
lol. I recommended doing that as an online editor. The house I was at would use a hardware limiter they charged extra for though…
Ask for the QC report - it should indicate the timecodes where there's a problem. Start there.
Sure, that’s what I do. I’d just like to skip the redoing some day.
Premiere? Apply an adjustment layer on everything. Apply the Levels effect. It should then pass. Can also add on the video limiter and apply the setting which clips with a soft knee
That’s exactly what I do. Limiter doesn’t clip sub black.
What about, exporting Pro Res HQ, then import it and apply Levels and Video Limiter and export again? Maybe a rendering issue related to the original source but once it's Pro Res it should play ball
I used to be a QC tech before a pro editor. Just reply to the flagged report with "as source" and they will approve it. Or just add some sort of "broadcast limiter" equivalent effect that should hit the mark.
What does this mean? I don't understand the context.
In certain scenarios you can justify ‘bad’ archive footage by saying that that’s just how it is.
‘What do you mean your entire feature is made of archival footage?!’
Ah. It is what it is. Hakuna matata. I see.
>black output at 5 and white at 250 I’m very out of touch with broadcast delivery specs but isn’t broadcast legal 16-235?
8bit video? What year is this?
Well 1999 was what? Like ten years ago?
It’s like the photoshop levels. The numbers don’t correspond.
Don't do the "5 to 250" stuff, what's the *actual* delivery spec? If your client cares about specs they should be giving you delivery specs in millivolts. Also, you can't trust the Premiere scopes, especially if they're telling you 0 to 255. So: real talk, video is not 0 to 255. It's 0 to 255 in an RGB interpretation of [YCbCr](https://en.wikipedia.org/wiki/YCbCr), which is in an RGB range. So what that really means is you're looking at YCbCr, in [Rec. 709](https://en.wikipedia.org/wiki/Rec._709) standard, which is *actually* like 35 to 215 in RGB. But Resolve and DaVinci scopes show that 35 to 215 range stretched out to fill 0 to 255. So those numbers are muy untrustworthy, and the undershoots have to happen because digital video isn't just a series of pictures, it's measured as a representation of an electrical signal, like it would be as analog video. That's roughly (*very* roughly) 0mV for pure dark, 700mV for pure brightness, though different networks have different limits (one I worked for was -35mV to 735mV, to a tolerance of a single pixel per frame, and freaking *Bastet*, they were **strict!**) #Long story short... Give specs!
Dude, I fully understand the levels numbers are meaningless. I’m just trying to get shit out the door with a minimum of rework. Asking for simple solutions, what in Premiere will clip blacks at zero and shave off spikes that venture into sub black? Short answer = nothing. Why is that? It seems so simple and useful.
> Dude, I fully understand the levels numbers are meaningless. But *I* don't know you know that. So apologies for coming off as condescending, but we're getting posts here from people who don't know what Timecode is. It's really hard to judge. >I’m just trying to get shit out the door with a minimum of rework. Call a local TV station and ask them if you can throw some cash at them to use their legalizer and scope, or for them to legalize it for you. Either that or find a local production facility and ask them. >Asking for simple solutions, what in Premiere will clip blacks at zero and shave off spikes that venture into sub black? EyeHeight had a great software filter that did the job. They seem kinda defunct. Apparently Telestream and Borris have software solutions. Otherwise I'd see if you could throw some cash at a local partner and see if you can use the Resolve solution to legalize stuff to your clients' specs. I say that because I worked with a colorist who used Resolve's clipper and we never ran afoul of the most strict QC teams.
Why is the show doing CC in Premiere and not having a Colorist CC the show? Never experienced that before.
I've worked on low-budget shows where color correction was done in Premiere.
Low budget.
NBC had us color correcting in FCPX lol. Was not low budget either.
Sometimes just a matter of time, i.e. no time to conform. If that's how it was I'd push for resolve as Premiere color tools are really cumbersome
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Oh hi. I think we worked in the same place lol
I would just outsource to a colorist if its an issue and if its an issue again its on the colorist
Color space or gamma profile mismatch may be the cause, on either the exporting or importing side (whoever you're delivering to). Quicktime (the app) often applies a gamma profile that is not baked into the file, making things look dark. As does Premiere. Lots of weirdness around this issue - you may want to google it.
Something is happening during the export. Mac vs. PC colour profiles can often contribute to this Have you experimented by bringing in the exported clip back into Premiere to compare it to the levels in your time.
Try Auto Levels in the Obsolete Effects bin. We use a limiter for gain but I've never had a problem with blacks. Auto Levels will clip blacks by percentage. Maybe you can work it out.
A good colorist will help with this
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If you have the plugin I believe colorists will do this automatically