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Background white in footage appears brighter than my white matte layer mask, why?
I shot talent on a white cyc wall, well lit. I have cropped the edges of my video where the edge of the paper shows, and added a white matte background to the layer under the video. I then blew out my white slightly in order to get it to an absolute white. However, it doesn’t match my white matte layer that is set at RGB 0,0,0. it actually appears brighter than the matte color layer. Is there a reason why the white matte is slightly dim? This is ultimately bound for the web, and needs to seamlessly integrate with the white of the page. How do I get consistent 0,0,0 whites from my export?
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3 Replies
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Correction: RGB white = 255,255,255 (not 0,0,0 which would be RGB black) Thanks.
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Do you have your capture set for “Super-White”?
That allows the footage from the camera to be captured with white-levels above “100%”.
You can always add a Color Corrector filter to your clip and lower the overall video level to match your white background.
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[Matte] “Do you have your capture set for “Super-White”?
That allows the footage from the camera to be captured with white-levels above “100%”.
You can always add a Color Corrector filter to your clip and lower the overall video level to match your white background.Not entirely true,
From a paper by Graeme Nattress:-
< "white" and "super white" setting in Final Cut Pro only effects the import of still images. The "white" and "super white" settings do not effect imported video in any way. Most video cameras allow you to shoot and record a video image that will use video levels that go up into the "super white". Such "super white" video levels are not suitable for broadcast and need to be brought back down to the 100% FCP level in the waveform monitor, either through colour correction or use of the broadcast safe filter. Final Cut Pro defaults the timeline setting to "white". If you import a still image with the "white" setting, it might look dull, but it will be within broadcast luma limits. You may still need to ensure it's chroma is within broadcast limits, but at least it's luma is correct. If you are producing video for non-broadcast environments, you may wish to use all the video levels up to 110% FCP and set the timeline setting to "super white" to allow the imported images to use this full range>Thanks to Graeme for this information, hope it helps you.
Alexander
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