Ben Balser on Canon c70 clips into FCPX 10.4.6.Giuseppe Mangione on Canon c70 clips into FCPX 10.4.6.IMAGO TALKS – A Space to Talk About Cinematography – October 16 In truth, I think many broadcast channels are a little looser with what they will and won’t accept, but I treat levels like it’s still 1999 and try to err on the side of being conservative. So it’s rare we get caught on an illegal broadcast level. One was for a level problem I missed, one was for a data glitch, and one was for a key that went south. I’ve worked on about 150 films in the last 5 years for one specific client, and I think so far 3 have come back for fixes. The rest of it boils down to keeping an eagle eye on the scopes and having a 6th sense for when we’re on the edge in terms of legality. The rest of the time, I might use a mild Soft Clip here and there or even use Log Highlights to pull whites out of being completely blown out. I don’t use it throughout the whole show: I only activate it on the specific shots that need it. I find this often works better than a curve, particularly with hot chroma shots. More and more people have been moving over to DaVinci Resolve as a one-stop.

What I do is just use the Gamut Mapping towards the end of the node tree, set input/output to Rec709, and carefully tweak the levels as required. We all hate spam: Your email is safe and you can unsubscribe at any time. There is a “Broadcast Safe” OFX plug-in available from BorisFX that claims to do it.

Is davinci resolve safe