-
Access to color bar file in PPRO?
I have posted a few times. Never got an answer.
I would to create a color bar file where in the center
of the white flag I add a whiter than white area of pixels
that increase from 235 one pixel at a time to 255, then
step back down to 235 again. On waveform monitor
This would look like: _____/\______ with the flat area
being 235 and the tip of the /\ being 255.This would be useful in verifying that there are no
white clips in the path. The Color Bar signal already
has “Pludges” in the black area, which will show black clipping
but the white area does not have such parameters.I have created a Bars with a square of 255 (Which
____
looks like this on waveform monitor: _____| |_____
But I am striving for a more elegant solution.I have done this is proms before, where you
Are at the pixel level.. but I’m at a loss on how to proceed.
Obviously this has to be in YUV, opposed to RGB space.
I had two Photoshop Pros attempt it and fail because
Photoshop is RGB space.
So Premiere Pro is an obvious choice.Can someone explain if this can be done, and point and
start me in the right direction???Thanks.
-
7 Replies
-
well 1 pixel at a time is 255-235 or 20 pixels. so make a gradient with 20 pixels. would be easier in photoshop.
here’s a long thread how to do it
https://forums.adobe.com/thread/921034 -
Please double check me:
From what I gather fron the link —- I make a one
layer grid 39 pixels wide. In Photoshop. (Like I did in an eprom
But in hex)layout as follows:
236, 237, 238, 239, 240, 241, 242, 243, 244, 245, 246, 247,
248, 249, 250, 251, 252, 253, 254, 255, 254, 253, 252, 251,
250, 249, 248, 247, 246, 245, 244, 243, 242, 241,240, 239,
238, 237, 236That gives me a ramp up & down.
I don’t know how to do this in Premiere. I don’t think
This will be correct in Photoshop.Every time I export a maximum white bkgnd
in Photoshop it shows 255 in Photoshop, but imported
into Premiere it shows up as the same amplitude as existing
white flag Premiere’s bars—-235! Another way of saying this
is: Photoshop 255? Imported into Premiere is 100 IRE on scope.
The two Photoshop people I approached to help on this both
couldn’t do it. Without having the ramp go downward from 235,
and not upward from 235 toward 255.I default to others in Photoshop because I’m not very good at it.
-
I believe that PP assumes still images (and video codecs like Animation) are 0-255 and thus maps them to 16-235 to fit 709 legal range. Try creating a 2 frame animation in photoshop (both identical) and export as full range to a codec that PP will assume is legal 709 (Dnx/ProRes).
https://www.dropbox.com/s/aj2mn7ta79pfy8o/2_field_QT%20DNX185%20709.mxf?dl=0
I think has 0-255 range (can’t check ATM) in DNX codec
-
Is the original file as a Tiff – which imports as 16-235 in PP (from memory, not at machine atm). I put this in an AE comp & exported as DNX, flagged as 709 I think
-
The Tiff you gave me is limited to 16/235
And I tried opening the mxf by importing in PPRO or PS-64 (CS6 here) without success…
Later on today I’ll send you what I created so you can see it in PPRO There… -
I’m just nosy if anyone tried what I posted and got same results as I did?
-
I imported the dropbox dnx file and it is 0-255 and I imported a pure white PS file and it also imports into Premiere at 255.
Windows 10 Pro | i7-5820k CPU | 64 gigs RAM | NvidiaGeForceGTX970 | Blackmagic Decklink 4k Mini Monitor |
Adobe CC 2018 |Renders/cache: Samsung SSD 950 Pro x2 in Raid 0 | Media: Samsung SSD 960 PRO PCIe NVMe M.2 2280 | Media: OWC Thunderbay 4 x 2 Raid 0 mirrored with FreeFileSync
Reply to this Discussion! Login or Sign Up