How To do a Broadcast Safe finish in Davinci Resolve

In this episode, I explain how to get your video Broadcast Safe, whether you are doing the grade or if you are receiving a Master file that needs to be legalized for Broadcasting.
Topics explained in this video:
* Amount of 10bit values needed for most types of Broadcasting
* Broadcast Safe reference lines
* Waveform / Vectorscope
* Detect Scene Cuts
* H.Soft / L. Soft in the contrast curve
* Curves - Hue Vs Sat
* Gamut Mapping

[@CineAmaniacs]

Bro this is one of the best videos on RUclips I have question what if your color managing which is working seen referred, it looks like what your doing is working display referred so how will we use the gamut mapping or how will we use the luma fix and chroma fix if we’re in scene referred I hope this make sense

[@DavinciResolveTipsTricks]

Thanks a very good question.
I’m used to do it after the rec709 conversion because I do a lot of these that come already in a 709 state to me and I just make them tvc legal.
For me it’s easier to do it display referred but there’s nothing stopping you to do it before the ODT as long as you follow the basic parameters to check and control.

[@CineAmaniacs]

@@DavinciResolveTipsTricks oh ok so when I’m setting up my color management using nodes I’ll put the luma fix and chroma fix and gamut mapping before the IDT not after the ODT or not somewhere inbetween the IDT and ODT!

[@DavinciResolveTipsTricks]

I’d still recommend putting it after your ODT because nowadays we do so many deliverables that it’s rare that an ad just goes out on TV only.
So do your grade as per usual, and after your rec709 conversion add the tricks to make sure it’s broadcast safe, if you don’t need it to be safe then disable those nodes and you still have the grade you intended, if you know what I mean.

[@CineAmaniacs]

@@DavinciResolveTipsTricks ok so after the 709 conversion also known as the ODT to 709 that’s where I’ll put all the tricks to make sure it’s broadcast safe thanks so much truly I’m definitely a fan of your work !!

[@DavinciResolveTipsTricks]

Sorry mate, long day, every time I meant to say ODT I wrote IDT.
Yeah, after your ODT is where I would tackle the broadcast safety.
That being said you could also have all this in mind Whilst you’re grading if you know 100% your video will be broadcast first and make sure you’re not going over the limits, say when you design the “Look” at a scene or timeline level.

[@unclejezza]

Super helpful thanks!

[@DavinciResolveTipsTricks]

Thanks! I’m glad it was helpful

[@JamesVickers]

Fantastic help thank you.

[@DavinciResolveTipsTricks]

You're welcome James!

[@bigsnap5]

Very helpful!!

[@DavinciResolveTipsTricks]

Thanks for watching!

[@NOMOFilms]

Thanks for this!

[@DavinciResolveTipsTricks]

My pleasure!

[@clmty]

Hello ! Very helpful video, thanks ! I have one question, are your scopes on data levels or video levels ?

[@DavinciResolveTipsTricks]

Hi, thanks for your comment.
The scope is set to Data Levels which is the whole range from 0-1023.

[@VideoPine]

Shouldn't it be video levels for rec709

[@CineAmaniacs]

And are these same standards safe for Netflix or is Netflix different and if so what are there values

[@DavinciResolveTipsTricks]

Hey, thanks for your comment
You will find most deliverable standards for Netflix in this document: partnerhelp.netflixstudios.com/hc/en-us/articles/7262346654995-Post-Production-Branded-Delivery-Specifications
Netflix is not a broadcaster, although there are parameters to follow it’s much more forgiving than a legal/non legal TVC for normal broadcasting TV delivery.
It also changes if you are delivering SDR or HDR for Netflix where at the moment is hard if not impossible to deliver HDR for normal broadcasting as far as I know.

[@alexboorman4092]

Legend

[@DavinciResolveTipsTricks]

Cheers!