4 Replies Latest reply on Oct 2, 2013 1:12 PM by able123

    Does the Broadcast Colors filter work?  How to get a broadcast safe production?

    AlaskanNomadProductions Level 1

      Hey guys ~


      Have searched around a bit but haven't found much info on this subject.  One of my films just signed a distribution deal (go team) and I've been in the process of submitting my deliverables.  The company I've been assigned to for QC uses FCP7 for their preliminary check, and if that passes they send it on to a more rigorous test to ensure legal broadcast levels. 


      I'd like to keep everything in PP, but here's the deal.  I export my film with PP CC to a ProRes HQ file using the "Broadcast Colors" filter set to an IRE of 99 (just to be a touch on the safe side).  I was happy because I thought the final product looked even better and retained even more information than the Broadcast Safe filter in FCP. Only the catch is, when I import the final product from PP into FCP7 to see the results that they are going to see, there is a consistent "red" warning on contrasty shots... some are totally outside of the FCP7 broadcast safe scopes.


      I've succumbed to jumping back to FCP7 to do the final on this just to make sure it will pass inspection, but I'm curious if anyone has had any experience with this? What's the correct way that I'm missing to use PP CC to make sure that you have a finished product that is safe to put on the airwaves?  Is the PP CC Broadcast Safe filter reliable for professional delivery specifications?


      Thanks in advance for any help...