sRGB LUT

[Juan Salvo]

I actually recommend staying 709. Many compression apps will do the appropriate colorspace conversion for you. Additionally there are many issues with proper colorspace handling with various qt codec.

I’ll share with you one of my secrets, discovered through tons of trial and error. For best color handling in an h264 file & amazing quality. I use a ProRes HQ source, and run it through the latest version of Handbrake. It’s x264 encoder is actually insanely good, and it takes care of the color matrix for you, and does so perfectly. (I should say, I’m doing it on a Mac. Not sure about the pc version)

online editor | colorist | VFX | BD author

https://JuanSalvo.com

[Sascha Haber]

I second this..
And get yourself a Vimeo account, YouTube and one more and do the upload yourself.
Compare the display of several computers showing it and decide if you need to compensate by hand.
It’s like mixing sound in the studio and listening to it in you car radio 🙂

A slice of color…

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[Gabriele Turchi]

isn’t Rec 709 specs extremely close to sRGB specs ????

g

Davinci Resolve Control Surface
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[Juan Salvo]

Yep. Same primaries and wp only difference is sRGB has a defined gamma.

online editor | colorist | VFX | BD author

https://JuanSalvo.com

[Joakim Ziegler]

Primaries are the same, transfer curve is different.

Also, and this is very important to note, rec.709 is a camera transfer curve. It’s used for encoding values in a camera, not for displays. HD broadcast displays typically use a more or less pure gamma 2.4 transfer curve (and rec.709 primaries when displaying an HD image). sRGB is a bit more complex, being on average about gamma 2.2, but with a linear segment at the bottom, and something approaching gamma 2.4 in the highlights.

But, people here are right, most players/plugins will take care of the transfer curve conversion, and expect video to be encoded as if it were for broadcast.

—
Joakim Ziegler – Postproduction Supervisor

[Dermot Shane]

Your DreamColor does have a sRGB preset, just above 709… it’s set at 250cdm tho.. bring sunglasses

[Jamie Lejeune]

Thank you for the tip Juan. When you export from Resolve as ProRes HQ, are setting it to video levels or data levels? I’m guessing data. Or, does Handbrake also expand video levels out to data levels in the conversion, in addition to the gamma and color matrix conversion?
And, is it really doing a proper 2.4 to 2.2 gamma conversion?

[Juan Salvo]

Out of resolve leave the levels on auto. As far as gamma, 2.2 is assumed. If you work 2.4 you’ll probably want to compensate accordingly.

https://JuanSalvo.com
https://theColourSpace.com

[Jamie Lejeune]

Many many thanks Juan! My main deliverables are DVD/BluRay/HDCAM-SR and the advice I got was to monitor at 2.4. Would you advise otherwise?
Any adivice on how to create or find an output LUT to get from 2.2 to 2.4?

[Ergin Ozturk]

i have the same issue.
i am about the finish music video mainly for broadcast. But it will be published web also.
i have HP dream color and set to REC 709. But it seems 709 is darker (especially in lows) than sRGB. For example if i look tha footage in sRGB i can see some details in shadows but in REC709 it is not possible.
if i arrange my footage according to REC709 then i need to “brighten” the lows. But if i arrange to sRGB i can keep it like that but in that case it may be “dark in TV”.

any suggestions?