4:4:4 Titling

[Louis Jaime]

I believe that only thing you have to watch for is that you set your color space to 32bpc and make sure you output to a format (as a single file or sequence) that supports 32bpc.

If you don’t mind me asking, why so much color space for black and white titles?

Louis

[Eric Bryant]

Thanks,

I didn’t think I needed the color space for the white titles over black. But, I just wanted to know how the workflow goes, so when I have titles over picture in the future, I’d have the right setting configuration for 4:4:4 in After Effects.

[Chris Wright]

You will need a codec that supports RGB+alpha channels, millions+, straight alphas rather than pre-multiplied, 32bpc, at least a 10 or 11 bit full RGB 4:4:4 uncompressed intraframe codec.

For film resolution or high-bit depth projects, consider working in a linear color space. Why? I’ll tell you why, You want color mixing free of edge artifacts. linear vs. gamma read:
https://prolost.blogspot.com/2005/01/color-correction-in-linear-vs-gamma.html

As for the color management, you can go 4 ways. four ways: absolute colorimetric, relative colorimetric, perceptual, and saturation. Linear sRGB IEC61966-2.1 (D65) is good.

as you can see, it gets exponentionally more complicated after this but you’ll have color managed, linear floating, perfect quality in all adobe products, professional work.

Here is a good website that tells you how to do the full trip.
https://www.fxguide.com/fxtips-315.html

[Eric Bryant]

I had a feeling there was more under the surface as I dig deeper and deeper into this. Thanks for the insight! This too is extremely helpful. You creative cows are the best!! All I gotta say is MooooooooO!!

[Chris Wright]

Now since you’re in HDR mode, you can do really awesome things like
HDR compander expand range to like 1.1 from 1.0 can make lower end camcorders get more range. it will keep precision because its a full 32 bit light plugin perfect for snow or heavy light. preset-bloom bright is only 16 bit though 🙁

[Brendan Coots]

Using the Animation codec set to millions+ (for your alpha channel) will deliver excellent results, especially if you set your AE project up as 16-bit. You can also use PNG codec, as this is 4:4:4, lossless and supports alpha.

The repeated assertion in this thread that you need to use 32-bit is nonsense. Using 32-bit for something like titles will provide NO BENEFIT. The only real advantage of 32-bit over 16-bit is access to “over-bright” information stored in HDR images. In the case of black and white titles, 32-bit will deliver no appreciable quality increase, but your file size and workflow will definitely take a hit.

Brendan Coots
Splitvision Digital
http://www.splitvisiondigital.com

[Chris Wright]

You can take full whites and push them over the top 255 range and not lose any information.
It’s all about what you might plan on doing in the future so you don’t have to re-render everything over again from scratch if you want to change your white points. Honestly, 16 bpc is probably enough for most people that are never going to reuse there video. As, for render time, I haven’t seen any increases.

Here’s Andrew Kramer’s great video on this.

https://library.creativecow.net/articles/kramer_andrew/hdr/video-tutorial.php