Full Range & Broadcast Delivery

To be clear … you’re all setup for 16-235/2.2-2.4 monitoring? As that is what most common folks think of as “video” levels vs data.

Correct.

Lotta folks out in the wild be unhappy with that … they wanna grade in their pretty new ultra-wide-space monitor’s widest spaces. “So it looks good on displays like mine & my pretty new wide-space TV too.” What can anyone say … 😉

Been in some long discussions on this. Sigh.

neil – keep mind that gamut and levels are two seperate things. One could work with a wide gamut P3 display for example in legal or data (assuming the display supports switching). They’d still be working wide gamut.

This stuff is all so blazingly obvious & clear, isn’t it? lol

As someone who works more in editing mode and does my own color … and chats with quite a few … the mis-perceptions & misconceptions of how to use what set how are massive.

May be an old discussion but a great and important podcast. I think it`s very interesting that you as colorists do “all” your work in a legal video space while your software is designed for and working in fullrange RGB.

I am working as editor (Avid) for many years and mostly for television. And yes Avid is original designed for working in and with video levels but also understand fullrange levels. Well, we are working more and more the opposit way. We do the complete job in fullrange. Cause today you get many CGI and composits to put it into your edit, exchange with graphic-departements, have to deal with many different camera codecs and records that are mostly of a legal television space. And at the end nearly every edit for television get also an output for web. So, to legalise our color and luminance for television we put at the end a set of curves or special colorlimiter over the timeline, thats all.

Hey guys! As always, I love your insights. Do you have anything pertaining to working in an HD timeline (with 4K footage) and then upon final delivery, exporting an SD deliverable. Current project is a letterboxed SD but recently had to do a center cut one as well (with pan and scan)

The main issue I am running into is QCing the SD deliverable outside of Resolve. When comparing the file in QT and VLC, the QT video looks great but VLC seems to be squishing it a bit. Is this a PAR upon delivery issue? My timeline is set to 1920X1080, but I am monitoring in NTSC, input and output scaling set to scale entire image to fit but output resolution changed to NTSC (720X486) with 4:3 standard def for PAR both in output scaling and in delivery page. (The PAR in the delivery page doesn’t seem to have any effect – only the option in the image scaling page does)

I want to know which video player I can trust. When this file goes to broadcast will it look like it does in QT or VLC (squished) and if VLC is accurately displaying it, how do I change the PAR so its looks right. The opposite of the players may also be happening (QT is stretching) Any advice would be greatly appreciated! Thank you!!