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Color Calibration for broadcast and computer Different results. (Stumped)
Hello,
First of all I apologize if this is the wrong section to be posting this in however this is slightly related to Adobe Premiere Pro.
I don’t have the budget currently to get a professional broadcast monitor so I just set my color bars in Premeire to one of my monitors as best I could.
After I set it and color corrected it appears differently on multiple computers on YouTube and what’s ever more weird is when I watch it in Quicktime it’s different vs YouTube. Does YouTube change the colors when you upload a video? I exported using the YouTube settings built into Premiere.
Also, I have the chance to broadcast what I filmed on my local Public Access Station which I’m thrilled about but I’m being told the colors will be different than my computer regardless of what I calibrate my Computer monitor too.
I’m a bit confused why that would be. I have currently an LG monitor which is LCD connected via DVI to HDMI converter.
I really don’t want to save money for a Broadcast field monitor if it’s still gonna be screwed up on YouTube.
What do i do to solve this? I’m totally at loss as to what to do.
When you see a movie in a movie theater how do the creators of those movies do it so it’s the same regardless of what device you watch it on?
I have two mac computers. One is a Macbook Pro and an imac and both their default colors look the same and even match my ipad Pro. Should just set my monitor I’m coloring on to match my iPad Pro and my other macbook pro?
Maybe that will be worse..
Bryce
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6 Replies
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You don’t have to have a $3500.00 broadcast monitor although you really would not want to go from you graphics card to a Broadcast monitor (you can). A HD TV will at least work in the correct color space. It will also allow for interlacing. Viewing interlaced timelines on a computer screen sucks. Broadcast is 1080i. Using products from Blackmagic, AJA and Matrox are money will spent if the end result is going to be broadcast. You can see the broadcast composition much better using 3rd party products. You may have 1080P video clips but if you drop them into a 1080i timeline using Premiere Pro they will playback silky smooth. Maybe the video link below might be of some interest. I also have other BMD videos that might be of some help. Having said that all monitors will have different color and contrast quality. For broadcast you can at least get the composition, color space and image quality (interlaced) correct. I don’t regret paying $180.00 for the Intensity Shuttle. I wish I had bought it sooner.
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Premiere actually does grade you-get-what-you-see in sRGB if your monitor is also calibrated sRGB. premiere will ignore any other color profiles. quicktime is not sRGB(0-255 gamma 2.2). quicktime(depending on the version), RGB values are 16-235 with various gamma styles like 1.8 or 2.4.
Furthermore, if you colorgrade in Premiere and your monitor is not sRGB(instead P3 or adobe RGB), you will get incorrect grades because you are grading in the wrong native color profile. VLC can match premiere perfectly if you set its video output to OpenGL. Also, nvidia control panel needs to be set to 0-255 so that your gfx card doesn’t change your RGB values in media playback.
Adobe Media encoder can render video range(16-235) or full range(0-255) as well. Resolve has FCP legacy feature.Also,
external displays are still limited by adobe’s mercury transmit protocol that is hard coded to rec. 709 so you’ll need to match that too.
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If you’re still having problems with youtube, it could be youtube changing the gamma/pixel values, in which case
you can try manually baking in a new look.
I can’t promise this will work for you, but many people have had luck using this LUT I made for youtube/vimeo.64 cube iridas lut for burning in darker 16-235 from 0-255 for youtube upload. it darkens image, then youtube/vimeo re-lightens again.
https://f1.creativecow.net/10598/fixmyyoutubenote:
it doesn’t work with adjustment layers directly
you have to use it in the dropdown for the export in adobe media encoder. or you can NEST it first.
its a premiere bug. also it needs to be copied in both premiere-lumetri-technical and adobe media encoder-lumetri-technical -
The best you can do is grade it on your end on the best quality monitor you can output to. Make sure you have a proper setup given the delivery medium and grade to that. EVERYTHING ELSE is out of your control. Everything.
Quicktime player and VLC player will play the same video, but look different.
Upload to YouTube and it will compress the footage, again, and you can’t control that. And their might be a color shift. Same with Vimeo. They encode multiple sizes to ensure smooth playback depending on connection speed.
AND THEN you need to know that Firefox, Safari, Explorer, Chrome…will all have slightly different looks when you play it back. Play the same video, same compression (1080) in Safari and Firefox, and you can see the difference. This is all part of how those browsers deliver the content to you.
This is something that, as a broadcast TV colorist, we have to deal with all the time. The best I can do is make it look good on my broadcast monitor…that’s calibrated. That way I know that I graded it to look like how we all want it to look on the best equipment. Beyond that…we have no control. The network we deliver it to compresses it for streaming via satellite, and that will cause a shift in colors…it won’t look like the original…it can’t, it’s compressed. And then, to top that off, the cable companies ALL play out that feed differently…and again, we can’t control that.
I color corrected a show for a client and they were in the bay with me, they saw what I was doing and we got the colors dialed in. And then he went home to NY and I was in LA. When it aired, he called me frantic complaining that it not only looked more washed out than he saw, but that the image was also slightly squeezed, he saw black bars on the top and bottom of the screen. I turned on the TV and went to the channel. On my end, yes, the colors were different, but I didn’t have the squeeze. He took a pic of his TV, and sure enough, there it was. He yelled at me for that…”WHAT DID YOU DO?!?!” I took a pic of my screen, and it was fine…so he calmed down a little. It turns out his cable provider did that squeeze, and couldn’t explain why. He had Cox, I had Time Warner. Same channel, both playing footage created from the same master…but delivered differently.
So you can’t control everything. All you can do is make sure that things look good on your end, with the best possible setup you can manage.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
[Shane Ross] “On my end, yes, the colors were different, but I didn’t have the squeeze. He took a pic of his TV, and sure enough, there it was. He yelled at me for that…”WHAT DID YOU DO?!?!” I took a pic of my screen, and it was fine…so he calmed down a little. It turns out his cable provider did that squeeze, and couldn’t explain why. He had Cox, I had Time Warner. Same channel, both playing footage created from the same master…but delivered differently.”
Could it have been the zoom control of his TV like at 9:40-10:40 in the video below?
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[andy patterson] “Could it have been the zoom control of his TV like at 9:40-10:40 in the video below?”
No. Other stations didn’t look like that. Other shows after his didn’t look like that. Just his show, at that time.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
[Shane Ross] “No. Other stations didn’t look like that. Other shows after his didn’t look like that. Just his show, at that time.”
That is odd indeed. I like having my Intensity Shuttle so I can give the client a really good representation of what the project will look like when broadcast but there are no guaranties. That is to bad that things got messed up at playback.
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