This is the best intro on topic I've come across. Great work. Thank you! Too bad TH-cam lacks ability to promote/rank videos bases on actual quality of content as opposed to who happens to be most popular at the time.
Thank you so much for this video! 🙏Now it's easier to understand Color Spaces and Color Management. Is there a part 2? I tried to find it, but no luck. 🙁
Amazing sir ,I have watched This many times over.thank you for this tutorial.you also said you will be posting a video on the file formats at the end.pls request you to post the same.once again it’s an amazing video and thank you for posting the same .
My god, thank you. I've been trying to figure this out for way too long. Great explanations! Would LOVE to see the part 2 that you suggested might happen!
Great stuff. Keep up the good work. Would appreciate more videos in the workflow and editing area, and how content is edited, color corrected, graded, and transferred across departments from capture to film release
Wow! Excellent video! I have been looking for these answers for ages! Were you planning on filming a second episode? Now that there are even more color spaces / gamuts such as RedWideGamut RGB for the IPP2 color science of red cameras, etc. Looking forward to more!
Sooooo many great information. I was looking for something like that for almost a week:) this video gives You very detailed information and understanding of this topic. Thank You . Great Job! Subscribed!
The colors displayed in the color picker have to be calculated first in a big color space in a linear way and then converted into the color space that you are working on to make sure you see and pick the right color.
Great video, thank you! Can you please explain the difference between sRGB and REC709 in particular? These terms often seem to be used together but there is some difference which I cannot find a clear explanation about. My confusion is due to incomplete information about sRGB curve and sRGB colors, whereas REC709 seems to have sRGB colors but different gamma curve (2.2 for sRGB and 2.4 for REC709 if I’m not mistaken), and at the same time Davinci Resolve default timeline setting is REC709 but I need to create content for TH-cam which is part of web standard sRGB I suppose - so how are they correlated with each other? Are they actually different from each other? Which one should you use as a working color space for TH-cam? And how to interpret them in correlation with what a consumer monitor displays? Thank you in advance. I’ll check if you already have that in some of your great videos ;)
In short, the only difference is the gamma curve, as you already mentioned. DaVinci is thought more for TV and Cinema so it comes with default on Rec 709 since that's what the SDTV is broadcasted at. I will touch on this in the next color management video. Thanks for your question and comment!
The color space is the space which the device can create or display, while the gamut is the colors which can be displayed. If a device mentions it has the AdobeRGB color space, that doesn't mean that it will be able to display the gamut of AdobeRGB, which is all the colors of the AdobeRGB space; only if the gamut is 99.9%-100% AdobeRGB then it will display all the colors correctly of the AdobeRGB gamut ?
Nice episode G.! Would be nice if you talk in-depth about ACES workflow, specially regarding ODT transforms, EOTF, etc. And also how to correctly output from Nuke using a ACES workflow in other to the rendered file look exactly the same as with nuke ACES view transform. Btw, there's a nice talk by Alex Fry about ACES in animation here: th-cam.com/video/vKtF2S7WEv0/w-d-xo.html For now I'm using Filmic. It's a nice way to not use a sRGB EOTF directly on a linear image, improving significantly the dynamic range of the final output. (github.com/sobotka/filmic-blender) I'm currently using it in Maya and Nuke, with the Maxime Roz's OCIO config files. (www.maximeroz.com/filmic/) Cheers!
Hi caiopimentel! Thanks as usual for your comment! There are a lot of implications in using the ACES pipeline and the matter is quite complex, many companies still don't even use ACES completely, texture painting is still an issue and converting from sRGB to ACES still has problems with color deviation, there is a lot of confusion. On top of that, there is now the ACES CG colorspace that solves some issues when using the ACES primaries that are too dark and hence don't create a nice enough GI bounce. It is also different according to if it is a CG feature film or a live-action VFX production. The idea of having a great dynamic range is obviously awesome, the problem is, as also explained in the video, the final output. I think this will slightly change with HDR screens, but the real problem is, as Fry says himself, that at the end the grade is done in the 10-bit log to emulate the film response, and so all the extra detail is gone. Plus one could object that a well-exposed movie doesn't really need all that dynamic range anyway, if not for archival purposes. There are some strange things happening in his comparison though, a red when exposed up should deviate to orange, in his sRGB display that doesn't happen, so something else is going on there, I'll have to do some tests. In any case, I'll explain more about Color Management in the other parts of this episode and I'll also make a separate episode on OCIO setups and ACES workflow ;) The links you have provided, aside from Fry's talk, seems not to be working. Thanks! G.
I see! Yeah, these more complex color management issues are difficult to have a grasp on. Would be nice if you lit some of these dark corners - as this level of knowledge regarding this topics usually only comes with experience working in a production environment. For now I'm reading this articles to gain some more knowledge of topic by my self: colour-science.org/posts/the-importance-of-terminology-and-srgb-uncertainty/ bartwronski.com/2016/09/01/dynamic-range-and-evs/ I think the issues regarding ACES in the pipeline are shown is this article by Steve Agland (Animal Logic): nbviewer.jupyter.org/gist/sagland/3c791e79353673fd24fa It shows the problems with CI bounces and color deviation. (Probably by now ACES CG mitigates these 2014 ACES' problems.) Btw, the broken links for to take a look at: - Filmic, OCIO config file made primarily to make a better (more photorealistic) transition between scene referred data to display referred data (sRGB in my case): github.com/sobotka/filmic-blender - Maxime Roz's OCIO config files (to use filmic in Maya and Nuke): www.maximeroz.com/filmic/ Let me know what are your thoughts about Filmic. And I would appreciate some reading indication (book or online) about this color science / color management topics that a good lookdev/lighting TD should have a solid knowledge. Cheers!
Thanks for pointing that out Joana! I always get confused with this term's pronunciation! I will try to pronounce it properly next time. That said, during production, we have more important things to deal with than fixing the pronunciation of every single said word. There is some tolerance, especially because there are many people belonging to many different cultures and ethnicities that work in the VFX world. Nonetheless, thanks for your comment and for improving my English!
LightDark Academy I understand. I was in fact wondering if any of you were native speakers. I'm not either. I'm just an old and uncontrollable grammar nazi. I was cringing a little every time I heard the word "management", but still quite an informative video, I was enthusiastically glued to the screen.
@@Juanah92 Thanks very much! In Italy, we also use that specific English term, but usually with the wrong pronunciation :D So I grew up saying it wrong :D There is always space to get better!
This is the best intro on topic I've come across. Great work. Thank you! Too bad TH-cam lacks ability to promote/rank videos bases on actual quality of content as opposed to who happens to be most popular at the time.
100% agree
Thank you so much for this video! 🙏Now it's easier to understand Color Spaces and Color Management. Is there a part 2? I tried to find it, but no luck. 🙁
Great video with a clear and concise explanation. Still waiting for the Part 2 🙏
waow fantastic tut , i ve finally understood diference between color space and gamut ! perfetto grazie 👌
Happy to hear that!
Great video
Very helpful once again. Very easy to understand and very useful for further learning. I'm afraid I don't see a similar video labelled "Part 2".
Thank you very much!
Very nice, tks
Fantastic video, thank you for your time
Thank you for your comment!
where is the part 2? amazing video!!
finally i understood the color space and gamut in this video..thanks very much.
Thanks very much! That's the purpose of these videos! Glad it helped!
Definitely the best (and most logical) introductory explanation of colour spaces. Thank you.
Thank you very much!
Very very very good lesson. Thanks a lot.
You are welcome!
Amazing sir ,I have watched This many times over.thank you for this tutorial.you also said you will be posting a video on the file formats at the end.pls request you to post the same.once again it’s an amazing video and thank you for posting the same .
this video need way more views than it has now
Well share it then :D Thanks very much!
where is part 2
eccellente spiegazione !!
Waiting for part 2
My god, thank you. I've been trying to figure this out for way too long. Great explanations! Would LOVE to see the part 2 that you suggested might happen!
Thanks for your kind words! Part 2 will definitely happen! I just moved house, will resume video production soon!
Simple and concise
As long as it works!
Thanks for that! Your explanation is super clear, looking forward to seeing more videos!
Its mind blowing ❤
Great stuff. Keep up the good work. Would appreciate more videos in the workflow and editing area, and how content is edited, color corrected, graded, and transferred across departments from capture to film release
Hi and thanks for your comment! Thanks for your kind words! I will try and make a video about editing and colour grading in a future episode!
quality stuff.
thanks
Thanks very much!
thank you sooooo mach
Dude, I was looking for a good colorspace tutorial and look who I found? Hi Giuseppe!!!
That's awesome! I hope it was helpful!
Very well explained! Already subscribed :D Continue making very easy to understand analogy to all your videos
Brilliant explanation! Thank you!
Thanks! You are welcome!
Thanks good explanation
Thanks for your comment!
Thanks a lot for this!
You are welcome!
Hi,
you have a really nice and simple way of explaining such concepts.
Can u please make a video about biased and unbiased renderers.
Thanks for your nice comment! Will try to make a video about that!
Very good explanation!
Thank you!
Thank you a lot for this really useful demonstration
You are welcome! Thank you for your comment!
Wow! Excellent video! I have been looking for these answers for ages! Were you planning on filming a second episode? Now that there are even more color spaces / gamuts such as RedWideGamut RGB for the IPP2 color science of red cameras, etc.
Looking forward to more!
Yes there will be a new episode, hopefully soon! I have been through a lot of changes and couldn't record as I wanted. But I hope to get back soon.
very helpful
Glad to hear that!
very good defination
Sooooo many great information. I was looking for something like that for almost a week:) this video gives You very detailed information and understanding of this topic. Thank You . Great Job! Subscribed!
You are very kind! Thanks for stopping by and leaving a comment!
Hi thanks for your great explanation...
I don't have clarity on BIAS & GAIN of a color.Could you please help me out on this?
I will do a video on this! Thanks for the topic request!
For HDR gaming - color space auto or native on Samsung tv?
you use reallly good illustrations to explain :) ... Thank you
Thanks very much! You are very welcome!
I gave you a thumb up before I even saw the video...
That's nice of you, but better watch the video and tell me if I said any nonsense :)
Quality tutorial.
Excellent video, keep it up please!
Thanks very much! I am now full time on this channel and hopefully can produce a lot faster!
Great vid! But what does it mean when you have a colorpicker (rgb color mode) that's said to be linear but only shows 8bits per chanel (0-255)?
The colors displayed in the color picker have to be calculated first in a big color space in a linear way and then converted into the color space that you are working on to make sure you see and pick the right color.
Sir can u tell me plz where is the next part of the color management tutorial?
I will make a video on the ACES workflow soon!
Greetings, Thanks for this video. Could you please explain what happens inside the ACES( what exactly it does) ?
Thanks for your comment! Will do a video just on ACES workflow.
@@Improtaproductions Thanks, appreciate it.
Thank you so much for the content sir!
You are welcome!
Great video, thank you! Can you please explain the difference between sRGB and REC709 in particular? These terms often seem to be used together but there is some difference which I cannot find a clear explanation about. My confusion is due to incomplete information about sRGB curve and sRGB colors, whereas REC709 seems to have sRGB colors but different gamma curve (2.2 for sRGB and 2.4 for REC709 if I’m not mistaken), and at the same time Davinci Resolve default timeline setting is REC709 but I need to create content for TH-cam which is part of web standard sRGB I suppose - so how are they correlated with each other? Are they actually different from each other? Which one should you use as a working color space for TH-cam? And how to interpret them in correlation with what a consumer monitor displays? Thank you in advance. I’ll check if you already have that in some of your great videos ;)
In short, the only difference is the gamma curve, as you already mentioned. DaVinci is thought more for TV and Cinema so it comes with default on Rec 709 since that's what the SDTV is broadcasted at. I will touch on this in the next color management video.
Thanks for your question and comment!
I find you only now. :( Great work!!!! Thanx!
Thank you very much!
Oh no, this logo on the screen isn't real! 10:39
:D
Where is the second part though?(
Great tutorial, thank you very much. When can we expect part 2? :)
Working on it! Will hopefully get it done soon!
The color space is the space which the device can create or display, while the gamut is the colors which can be displayed. If a device mentions it has the AdobeRGB color space, that doesn't mean that it will be able to display the gamut of AdobeRGB, which is all the colors of the AdobeRGB space; only if the gamut is 99.9%-100% AdobeRGB then it will display all the colors correctly of the AdobeRGB gamut ?
That's correct! The color space determins the colors that can be used, the gamut is what the device can actually display (or capture).
Where is pt2?)
Awesome explanation :)
Thanks very much! Glad you found it easy to understand!
Complimenti per il video! :) Non trovo però il seguito!!
Arriva presto!
What monitors do you use for production?
HP dreamcolor is a very popular one, but there are a lot of great monitors for a lot cheaper (Asus ProArt, some LGs etc.)
we all ask about part 2....... could know when ?
Thanks for your request! Will get it done soon!
where is part #2 ????
part 2 please
Coming soon...
Nice episode G.! Would be nice if you talk in-depth about ACES workflow, specially regarding ODT transforms, EOTF, etc. And also how to correctly output from Nuke using a ACES workflow in other to the rendered file look exactly the same as with nuke ACES view transform. Btw, there's a nice talk by Alex Fry about ACES in animation here: th-cam.com/video/vKtF2S7WEv0/w-d-xo.html
For now I'm using Filmic. It's a nice way to not use a sRGB EOTF directly on a linear image, improving significantly the dynamic range of the final output. (github.com/sobotka/filmic-blender)
I'm currently using it in Maya and Nuke, with the Maxime Roz's OCIO config files. (www.maximeroz.com/filmic/)
Cheers!
Oh, and a bit over your monitor choices would be nice also, once we're talking about colors.
Hi caiopimentel!
Thanks as usual for your comment!
There are a lot of implications in using the ACES pipeline and the matter is quite complex, many companies still don't even use ACES completely, texture painting is still an issue and converting from sRGB to ACES still has problems with color deviation, there is a lot of confusion. On top of that, there is now the ACES CG colorspace that solves some issues when using the ACES primaries that are too dark and hence don't create a nice enough GI bounce.
It is also different according to if it is a CG feature film or a live-action VFX production.
The idea of having a great dynamic range is obviously awesome, the problem is, as also explained in the video, the final output. I think this will slightly change with HDR screens, but the real problem is, as Fry says himself, that at the end the grade is done in the 10-bit log to emulate the film response, and so all the extra detail is gone. Plus one could object that a well-exposed movie doesn't really need all that dynamic range anyway, if not for archival purposes.
There are some strange things happening in his comparison though, a red when exposed up should deviate to orange, in his sRGB display that doesn't happen, so something else is going on there, I'll have to do some tests.
In any case, I'll explain more about Color Management in the other parts of this episode and I'll also make a separate episode on OCIO setups and ACES workflow ;)
The links you have provided, aside from Fry's talk, seems not to be working.
Thanks!
G.
I see! Yeah, these more complex color management issues are difficult to have a grasp on.
Would be nice if you lit some of these dark corners - as this level of knowledge regarding this topics usually only comes with experience working in a production environment.
For now I'm reading this articles to gain some more knowledge of topic by my self:
colour-science.org/posts/the-importance-of-terminology-and-srgb-uncertainty/
bartwronski.com/2016/09/01/dynamic-range-and-evs/
I think the issues regarding ACES in the pipeline are shown is this article by Steve Agland (Animal Logic): nbviewer.jupyter.org/gist/sagland/3c791e79353673fd24fa
It shows the problems with CI bounces and color deviation. (Probably by now ACES CG mitigates these 2014 ACES' problems.)
Btw, the broken links for to take a look at:
- Filmic, OCIO config file made primarily to make a better (more photorealistic) transition between scene referred data to display referred data (sRGB in my case): github.com/sobotka/filmic-blender
- Maxime Roz's OCIO config files (to use filmic in Maya and Nuke): www.maximeroz.com/filmic/
Let me know what are your thoughts about Filmic.
And I would appreciate some reading indication (book or online) about this color science / color management topics that a good lookdev/lighting TD should have a solid knowledge.
Cheers!
when you make part 2 , sir ?
Very soon! Thanks for your comment!
Thanks u !
You are welcome!
did anyone noticed metal music in the background
So nobody in his team took the time to point out how "management" actually is pronounced?
Thanks for pointing that out Joana! I always get confused with this term's pronunciation! I will try to pronounce it properly next time.
That said, during production, we have more important things to deal with than fixing the pronunciation of every single said word. There is some tolerance, especially because there are many people belonging to many different cultures and ethnicities that work in the VFX world.
Nonetheless, thanks for your comment and for improving my English!
LightDark Academy I understand. I was in fact wondering if any of you were native speakers. I'm not either. I'm just an old and uncontrollable grammar nazi. I was cringing a little every time I heard the word "management", but still quite an informative video, I was enthusiastically glued to the screen.
@@Juanah92 Thanks very much! In Italy, we also use that specific English term, but usually with the wrong pronunciation :D So I grew up saying it wrong :D There is always space to get better!