Vectorscope without broadcast monitor

J

jejeson

New member
Guys,

I have some rush work a friend asked me to quickly edit and send him for broadcast. problem is am out of town and i dont have a broadcast monitor where i am, just my macbook display. is color correction while relying on vectroscopes going to help me make a fair judgement of color information? has anyone managed to broadcast any rich colors without them being too saturated after editing on these macbooks? for shure i dont expect them to be accurate in any way because they are not, but am just wondering if they are usable with the help of a vectorscope? please let me know what you think... its quite urgent. thanks
 
If you're trying to make sure your broadcast colors are legal and within a safe range here's a trick as mentioned in the Meyers' book: create an adjustment layer, add the broadcast colors effect and set it to "Key out safe", that way you're left with only unsafe colors, adjust the offending colors as needed until you're left with no un-safe values. I like to make the adjustment layer a guide layer so I don't accidentally render with it on or anything.
 
oneinfiniteloop said:
If you're trying to make sure your broadcast colors are legal and within a safe range here's a trick as mentioned in the Meyers' book: create an adjustment layer, add the broadcast colors effect and set it to "Key out safe", that way you're left with only unsafe colors, adjust the offending colors as needed until you're left with no un-safe values. I like to make the adjustment layer a guide layer so I don't accidentally render with it on or anything.
Click to expand...

thanks for your reply. i will try out what you just said and see how it turns out. but from the way things look, does my footage look completely different in reality from what i see on my macbook monitor? am just hoping to get clarification on that.. because i dont want to adjust things according to my monitor and end up messing up footage. a friend told me that the macbook screen is usable... but am not willing to believe that unless someone else tells me the same thing. what do you think?
 
It really depends on your output. If you're doing broadcast work, then technically a computer monitor will not be reliable. With that being said, I've done spots on a computer monitor that came out looking fine on a broadcast monitor, but each case is different. You can simulate your output space with the color management in the Adobe tools, if you're using those, but in the end it's always best that you check your work on a proper monitor.

Regarding how your footage looks, it depends on the footage. If it's heavily saturated with a wide range of whites and blacks in the upper and lower ranges then there's a pretty big difference, especially in judging legal values and how over-whites will affect blooming, etc.
 
oneinfiniteloop said:
It really depends on your output. If you're doing broadcast work, then technically a computer monitor will not be reliable. With that being said, I've done spots on a computer monitor that came out looking fine on a broadcast monitor, but each case is different. You can simulate your output space with the color management in the Adobe tools, if you're using those, but in the end it's always best that you check your work on a proper monitor.

Regarding how your footage looks, it depends on the footage. If it's heavily saturated with a wide range of whites and blacks in the upper and lower ranges then there's a pretty big difference, especially in judging legal values and how over-whites will affect blooming, etc.
Click to expand...

Thanks a lot for the information. you have no idea how much that helped. i guess i'll have to just be careful with my colors, not to push them too much. my footage is quite saturated, but i just hope i can try to keep it safe. am out of town so i can not access a monitor. my main fear was not with over whites, because i have done my color correction for the clips in my timeline, each separately, trying to keep the whites as low as possible. i however had a fear with my other colors, if they really looked close to what i see on the monitor... i hope what you meant wasn't that all the colors will look different, just whites and blacks...
 
oneinfiniteloop said:
If you're trying to make sure your broadcast colors are legal and within a safe range here's a trick as mentioned in the Meyers' book: create an adjustment layer, add the broadcast colors effect and set it to "Key out safe", that way you're left with only unsafe colors, adjust the offending colors as needed until you're left with no un-safe values. I like to make the adjustment layer a guide layer so I don't accidentally render with it on or anything.
Click to expand...

That's quite the trick! Thanks for that!
 
There are a nice set of plug-ins for After Effects called: Test Gear that we use at work. Only the art directors have the fancy broadcast monitors....

Scopo Gigio used to be a good one
 
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