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Color bars out of whack
I’m doing post on a project and have run into a problem that I hope someone can help with. The footage I’m working with was shot on a Viper in filmstream mode. We did the color correct and I received 4:4:4 RGB log files (using Kona’s 10-bit RGB log codec).
In After Effects and in Shake, the color bars at the head of the Kona footage have the right values and the footage looks right on my production monitor. The roundtrip from DiVinci to Shake to DiVinci works perfectly.
In Final Cut, the color bars I received from the color correct are all out of whack. On FCP’s vectorscope, the colors are coming in shy of the target boxes and on the waveform, the levels of the bars look slightly boosted.
The FCP bars look right in the vectorscope, so I thought I’d double-check those. I outputted the FCP color bars and the blacks are all 0 (not 16, where they should be in 8-bit land). And the whites are all 255.
Is this what it is outputing to tape? Or is it compensating somewhere downstream to limit the output to 16-235?
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1 Reply
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This probably as something to do with the RGB to YUV conversion as FCP and the KONA are outputting YUV, so there is an RGB to YUV conversion going on.
ONe of the best CODEC’s for color fidelity is Sheer VIdeo. The RGB to YUV conversion is very accurate. You might want to examine this a bit further.
I don’t know from your post what you are outputting to. If you have capture a digital 4:4:4 then the balcks and whites should be at the full range 0-255 but if you are making downconverts or SD outputs the blacks should be at 16-235 (but the Kona will not do this for you with the HD footage. You might need to put a filter on to compensate for that.
David
Peace and Love 🙂
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