What happened to the image at 14:00 ? Also at 15:00 there are some blu artifacts around the mouth and the skin tones are off compared to the previous shots. Is that you purposely testing our eyes?
No, not really. These were shot with an older T5i in 1080p. I was testing a hack for the camera that saved in a RAW format. That turned out to be a pain, so I abandoned it in later videos. Under the time crunch, I didn't reshoot this. Sorry. And I was dealing with a lousy chroma key for the large monitor.
Dailies and proxies, yes. On the set, we're not colorists. The goal is to get to REC709, a pleasing balance, similar to what they saw in the camera monitor. All the good software we use has one-click conversions from log-to-709 or a master LUT specific to the camera profile. From there, the only adjustments should be blacks to 0 or 7% and whites to 100%.
So when it comes to safe saturation limits for broadcast, shouldn't the indicators even enter the squares? Or can they enter but cannot exceed the squares? I ask why I have already received requests to make the colors as intense as possible, but I have always been concerned about these limits.
The boxes are 'technical' guides. You can push colors to the outer limits of the boxes but NOT outside the boxes. If you do and the project is for broadcast...and it somehow makes it by the distribution technical checks, the broadcast transmitters have a few 'magic' boxes between the station output to the transmitter and the transmitter. This box will 'clip' or compress the colors to fit the FCC broadcast criteria. And when that happens, colors change. Client will not be happy. Of course, if the program will be put on the web (TH-cam for example), you can push the colors all you want. It's the broadcast side of things that has rather finite criteria. Hope this is helpful.
It's really in-depth! Thank you !
What happened to the image at 14:00 ? Also at 15:00 there are some blu artifacts around the mouth and the skin tones are off compared to the previous shots. Is that you purposely testing our eyes?
No, not really. These were shot with an older T5i in 1080p. I was testing a hack for the camera that saved in a RAW format. That turned out to be a pain, so I abandoned it in later videos. Under the time crunch, I didn't reshoot this. Sorry. And I was dealing with a lousy chroma key for the large monitor.
Hello, what about video levels when doing your balance ? And when you convert the log, it's only for dailies or proxies right ?
Dailies and proxies, yes. On the set, we're not colorists. The goal is to get to REC709, a pleasing balance, similar to what they saw in the camera monitor. All the good software we use has one-click conversions from log-to-709 or a master LUT specific to the camera profile. From there, the only adjustments should be blacks to 0 or 7% and whites to 100%.
@@learndit922 thanks I see :)
So when it comes to safe saturation limits for broadcast, shouldn't the indicators even enter the squares? Or can they enter but cannot exceed the squares? I ask why I have already received requests to make the colors as intense as possible, but I have always been concerned about these limits.
The boxes are 'technical' guides. You can push colors to the outer limits of the boxes but NOT outside the boxes. If you do and the project is for broadcast...and it somehow makes it by the distribution technical checks, the broadcast transmitters have a few 'magic' boxes between the station output to the transmitter and the transmitter. This box will 'clip' or compress the colors to fit the FCC broadcast criteria. And when that happens, colors change. Client will not be happy. Of course, if the program will be put on the web (TH-cam for example), you can push the colors all you want. It's the broadcast side of things that has rather finite criteria. Hope this is helpful.
@@learndit922 It was too useful! Thank you very much. I always had this doubt.
amazing!
Thank you! Cheers!