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9

Don't do white balance in post, you will regret it. The problem is that the footage your camera records is compressed. That means the sensor information is not stored in RAW, but encoded using lossy compression. The encoding algorithm uses the White Balance setting to determine the encoded color values. The problem is, the original luminosity values that are ...


8

Movies have certain "looks" to arouse certain moods. The lightning and color depends on the intention of the movie and each individual scene. Let's take the picture you linked as an example: The footballer is lit by the floodlights in the stadium. He is lit from every side so that you can see as much as possible, there is little shadow and contrast. The ...


5

The end of the filter chain should output full RGB, like this: Windows batch: ffmpeg.exe -i "https://gooseberry.blender.org/wp-content/uploads/2014/01/franck.jpg" ^ -filter_complex ^ scale=iw*min(852/iw\,480/ih):ih*min(852/iw\,480/ih),^ pad=852:480:(852-iw*min(852/iw\,480/ih))/2:(480-ih*min(852/iw\,480/ih))/2:white,^ format=rgb24 franck-padded.jpg ...


5

Two thoughts: Go to images.google.com and search for "gold". Find something you think is gold-colored, check its RGB values, and then use that as a target for your gold. Many editing programs have the ability to aim one color toward another, so you can select a range of colors that your camera thinks of as gold and then aim it toward what you think of as ...


4

I'm not aware of any that work directly in Premiere, however I can use my Spyder Checkr24 to either adjust my videos in Adobe Lightroom or DaVinci Resolve. For Lightroom, I use the software that came with my Spyder Checkr to make a preset I can apply. In Resolve, there is actually built in native support for working with the swatches. There are also other ...


4

There are a number of reasons why there are so many color spaces: Color resolution - sRGB and similar color spaces only cover a portion of the visible spectrum. This means that they can be represented with fewer bits per color channel. (8 in the case of sRGB.) For something like Rec. 2020 or ACEScg, you need 16 or more bits per channel. If you don't have ...


4

Most videos are limited range i.e. luma goes from 16 to 235, and chroma from 16 to 240. Unless expressly set, FFmpeg does not scale the range from one to another. Whatever the source is, that's the output.* However, many inputs don't tag this property in their metadata. So, the output doesn't get tagged either. In that scenario, players tend to assume ...


3

From the youtube video description you linked: The in-house developed and customized cutting edge software tools provide better image quality and colors very close to the original.


3

The order of the components in RGB32 seems to do with endianness: PIX_FMT_RGB32 is handled in an endian-specific manner. An RGBA color is put together as: (A << 24) | (R << 16) | (G << 8) | B This is stored as BGRA on little-endian CPU architectures and ARGB on big-endian CPUs. The descriptions of the various related formats ...


3

While I always guessed that the big / little endian was more a matter of patents rather than performance, Nope little endian was developed as a performance optimization whern moving to multi byte words. https://en.wikipedia.org/wiki/Endianness#Optimization Nothing to to with patents. Different representation have different advantages and disadvantage. ...


3

Where are you planning on exhibiting the footage? In my experience, the average consumer has a low-quality TV they bought because of the price, and they have the factory settings that look awful because they don't even know that they would want to change them, let alone how that would happen. In my opinion you're wasting your time because your client ...


3

Wide Gamut color space is primarily just an expanded color space that is capable of covering a larger range of values in the visible color spectrum. This, compared to sRGB and Adobe RGB. The gamma and white / black points are roughly identical. So yes this is primarily what Wide Gamut is designed for. Higher levels of vibrance. The trade off is if the ...


2

If you can't adjust the monitor, then send it something other than pure white. @poor already posted an answer to do this with Blender, but that seems like HUGE overkill. I would have just booted Linux, logged in remotely, and done DISPLAY=:0 xsetroot -solid '#fff' to set a solid white background, or any other color I wanted. And there's probably ...


2

Here is a hack. You can use Blender and the Blackbody Node of Cycles Render Engine. Following example shows a realtime viewport animation of the color temperature in kelvin: Create some geometry (e.g. a plane) as light emitter Setup an Emission shader Create a Blackbody node and plug it into the Emission Color Position your camera Switch your Camera by ...


2

Dynamic range is the difference between extreme light and extreme dark, whereas bit depth defines the number of steps in between. There is a practical relationship between the two, not a theoretical: When you do some color grading on these videos (and with high dynamic range videos you will probably do some extreme grades), then you will easily introduce ...


2

More bits mean more possible values for each channel. So each channel in an 8 bit image has 256 possible values, from 0 to 255, while a 10 bit channel has 4 times as many: 0 to 1024. Dynamic range however is the range between the brightest sample a sensor chip can encode and the darkest - it is a property of the sensor. So you could conceivably have an 8 ...


2

I followed up on the yuv420p(tv, bt709) portion of the encoding and discovered that this refers to the Rec. 709 colorspace for HDTV. In ffmpeg, colorspace is defined by the colormatrix filter. However, you must convert from some colorspace. According to an ffmpeg mailing list conversation, the default colorspace is assumed to be bt601: ISTR that if you ...


2

When colorizing film, filmmaker's will use a variety of commercial and custom developed tools. That mix of tools is often treated as proprietary information and is not widely discussed. For example, the team responsible for recently colorizing historical footage for the Smithsonian Channel did "not rely on a single commercial product, but rather a ...


1

There are several ways to do this. The basic idea is always the same: You overlay a color and then animate it's hue. To get rid of all other color, you can either convert the footage to black-and-white (which can again be achieved using different techniques) or put the color on an adjustment layer with the blending mode set to color. This is the preferred ...


1

This is a problem that drove me crazy... Long story short; certain browsers; whether it's Chrome, Explorer, Firefox, etc, actually handle color profiles, embedded within the video file (such as color workspace), differently. I believe if I remember correctly, Chrome uses Monitor Color, sRGB. Regardless of your video file's color profile/lack there of. I ...


1

You can use the LUT or GEQ filters for this. e.g. with LUT ffmpeg -i myVideo.avi -vf "yadif,format=rgb24, lutrgb=r='if(eq(val,0),3,val)':g='if(eq(val,0),3,val)':b='if(eq(val,0),3,val)'" image%d.png


1

The alpha channel is a grayscale 2D image plane of the same size as the RGB image, and is used when overlaying (or blending) the image on top of another image. If the value of an alpha pixel is zero, then the corresponding RGB pixel is invisible when the image is overlaid. If the value is 255 (in an 8-bits per channel image), then the RGB pixel is fully ...


1

The MOV you exported from Resolve is tagged as Rec 601 (despite being UHD). So, I transcoded your MOV using the command below, preserving all color characteristics and uploaded that to Youtube. Downloaded YT's transcoded video and compared it to the MOV, and in ffplay, VLC or Potplayer, they look the same. ffmpeg -i Untitled.mov -crf 18 -...


1

The correctness of this statement depends on the color model. The statement will typically be correct for color models such as RGB and CMY. In HSx (HSV, HSL) color models the model doesn't store explicit colors, and their transformation to explicit colors is non-linear. EDIT: My comment below on YUV is incorrect, YUV transforms linearly to RGB, thanks @...


1

If by linear scale, the (Cinelerra manual) "saying" means gamma = 1.0, then that's not my understanding of most video codecs. GPUs, OTOH, probably do operate upon values decoded and stored as a linear representation of a higher precision than the source, which would be typically 8-bits per channel.


1

In my experience Quicktime always produces incorrect shading and color with video- period. It shouldn't be used to assess what really "is there". First, go into Bridge. Under EDIT, make sure you've synchronized all your color settings for all Adobe Products, and that you're using WEB AMERICAN (Monitor Color for sRGB). That would be the correct profile for ...


1

I see the correct color on Youtube. via Flash player on Windows 7. Sounds like either a gamma issue with the errant players, not Youtube. Try VLC. --or-- Your FCP output isn't properly tagged. Its colorspace is Rec 709 but it's tagged as Rec 601 (or something else).


1

Using the calculator at http://davengrace.com/dave/cspace/, Gamma-weighted #E3000B translates to linear sRGB #C50001


1

Just a proof of concept. Steps to reproduce: on a new comp, create a shape object filled with black color; animate some properties, in this case, I'm changing the Inner Radius; duplicate this shape layer and move it a few frames ahead in the timeline (so it's out of sync with the layer below); change its color to white and activate the Track Matte pointing ...


1

make your first comp with your keyed footage in it. Create a new comp with two copies of the first, offset by one frame. Apply the hue/saturation effect with the hue rotated by a few degrees, let's say 8 degrees, to the bottom layer. Add some offset, say -20px on the x and y axis. Create a new comp with two copies of the second comp, this time offset it by ...


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