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This is typical of almost all video cameras, they record excessive white levels. Here is a simulation of that gradient shot using a current video camera. It shades smoothly from 100% white, on the left, to 0% white (black) on the right. Here’s what that gradient looks like on the Waveform Monitor. Every shade of gray is represented in that gradient which totally fills the screen. This is a gradient that shades from pure white, on the left, to pure black on the right. The Broadcast Colors filter (in the Color Correction folder) allows you to quickly fix problems with white levels or over-saturated chroma. Here’s an example.
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(In my classes, I describe this circle as a grapefruit - it makes for a better story.) There is a lot more room for saturation at the equator, than at the North or South pole. Saturation is represented by distance out from this center line. Gray-scale is represented by a vertical line going from bottom to top. The Vectorscope may show a color which is safe, when, in reality, it isn’t. NOTE: The issue of over-saturated chroma (or colors) is made even more complex in that mid-tone values can carry a lot more saturation than colors that approach white or black. In this screen shot, the top arrow points to an over-saturated red, while the bottom arrow point to where pure gray (i.e. NOTE: These targets shift position when you switch between NTSC, PAL, and HD. Starting in the top left and rotating to the right, the colors are: Red, Magenta, Blue, Cyan, Green, Yellow and back to Red. White levels that are too “hot,” or exceed safe levels, are indicated on the Waveform Monitor with a trace that goes over 100%. In this screen shot, the 100% white level line is the third yellow line down from the top, and three peaks in excess of that are indicated by the red arrows.Ĭhroma levels that are too saturated are, in general, any levels that exceed a bounding rectangle connecting the tops of the color targets on the Vectorscope. Now, if you create and post video exclusively for the web, you don’t really need to worry about this, because the web is very forgiving and can easily accept these excessive levels. However, if you plan to create any projects for broadcast, cable, or DVD, you need to care a great deal, because submitting a program that doesn’t take these limits into account will get your program rejected by the “engineering-powers-that-be.” None of these problems make video engineers happy. The computer is easily capable of creating saturated colors that far exceed the chroma limits imposed by video.
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Just as white levels had limits, so, too, did saturation. White levels that exceeded 100% would do very bad things, including causing a picture to break-up, inject hum into the audio, cause a cable headend to shatter the video image into small rectangles, even knock a broadcast transmitter off frequency. Those maximum levels were “baked into” the technical limits of video tape, broadcast, cable, and DVDs. And the limitations of the entire video system were such that video levels could not exceed 100%, as measured on the Waveform Monitor, without causing trouble. These units recorded video on tape, rather than cards or hard disks. The predecessors of today’s cameras were analog video cameras. It’s called the “Broadcast Colors” filter.
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In addition, programs like Photoshop allow us to create colors that are fine for the web, but excessively over-saturated for broadcast, cable, or DVD.Īdobe Premiere Pro CS6 provides a tool to help us solve the double-problem of excessive white levels and over-saturated chroma levels.
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Now that we know how to read scopes, there’s still a basic problem: today’s digital cameras shoot video that is fine for the web, but the white levels they record are too hot for broadcast, cable, or DVD.