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Best way to compensate darker clips in Boris FX / Media100
Hi, I find it really annoying that if I take a clip, and make it smaller, and surround it with white polygons, smaller clip becomes a lot darker. Even though I haven’t made any light adjustments.
Then if I apply filters to lighten the clip, I never seem to be able to get a light setting that all the clips in the sequence look good in.Is there something I’m missing here?
Am using Boris FX 6 with Media100 7.5
I have a video clip in the top right quarter of the screen,
and white polygons in the bottom and left of the the screen.
the video clip looks and renders a lot darker than it would if it was occupying the full screen.
How can I prevent this darkening, or, since this is a fairly common problem when I resize video, do you guys know of the best filter settings to apply to compensate? -
6 Replies
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No real clue, but, are the white polygons 255 white instead of 235 white?
Could that be causing Bfx or M100 to compensate?
L.O.A.
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I tried adjusting the whites to 233, but still no luck. I dropped them further to 200 which seemed pretty greyish, and the pic still looked darker…in fact, the resized video only achieved full luminousity when the background was black.
Your approach however, encouraged me to look more closely at the BorisFX monitor window….basically, the darkening effect I get on my external monitor doesn’t actually seem apparent on the computer screen.
Could it be the TV that is compensating somehow?
I use a household portable TV to monitor my video.
The project will end up on DVD for home consumption.
Do most household TVs do this?
Should I try and compensate with filters to brighten the image, expecting most TVs to replicate this problem, or just leave it natural?Advice?
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When I monitor out to my PD150, again, when the bars are black, the resized video is light/normal, when the bars are white, the resized video gets darker.
Am off to check it on some other TVs.
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I would hazard a guess that it is your household TV that is compensating for the luminance in your image. Personally, I wouldn’t adjust an image during production to try and overcome any shortcomings of consumer televisions. One item I’ve never regretted buying for my suite is a small, (13 inch Sony) but decent production monitor – it cost around $1,500 (12 years ago) but maybe you can get a good used one, if new is beyond your means.
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For anyone interested, I’ve settled on an ICE’d Gamma/Pedestal/Gain filter, with 1.10 Gamma, and 0.07 pedestal and the rest default settings, in order to compensate for the darkening, which did seem apparent on all TVs in the house.
=/ Sadly, I’m finding 16 seconds takes about 20minutes to render.
[That’s the boris fx graphics(white polygons, 3d sphere, rotating pct files, and resized video), and the ICE’d filter combined].
3D letters ontop via Grafetti make it a total of 35minutes wait for 16 seconds of footage.I’ll probably make the composition clips during the day and leave them to render overnight, but the thought of using the Producer or Red trial just to get things moving more quickly did cross my mind, though I don’t know if my machine is up for it. =P
G4 Dual 450Mhz Gigabit Ethernet, OS9 & OSX dual boot, Media100i 7.5, Blue Ice Ultra board / IceFX, Boris FX 6.1, Grafetti 2.1(I think).
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Thanks for your advice. =)
=P Unfortunately, I read it just after I applied an adjustment.
At the end of the day, it’s gonna be viewed on consumer TVs, and even my PD150 DVCAM Camera showed the same issue when the signal was output to that. So I’ve gone for the adjustment route.
I’ll keep my eyes out for monitors on Ebay though. I did have an opportunity to buy one a while ago, but I figured a TV would do fine. =P Whoops.
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