0-255 vs 16-235 ???

The TV world is expecting standard 64-940 levels and I'm pretty sure the web world is the same.

I'd shoot and edit in the standard 64-940. You must be using a Full range project in AE, try setting up a rec 709 sequence and the blacks should be now black not grey.

Paul250 said:

I shot two clips earlier on both settings, imported to After Effects and the limited (64-940) simply appears as a "flatter" image (lower in contrast).. the full range appears to have slightly more contrast... so added two slightly different S Curves.. and now they both look identical.. which leads me to ask does it matter which one you SHOOT with at all as long as you EXPORT your footage correctly??

Click to expand...

If you don't bother to grade your footage (adjusting the tone curves, colour balance, etc.) then shoot at 64-940 since that's what most viewing devices expect.

If you do grade your footage, shooting 0-1023 will give you a bit more latitude to push and pull the tone curve without introducing artifacts such as posterization. But you'll have to grade all your clips so that when you export your project it will be suitable for viewing by the devices your audience will use.

pgb said:

The TV world is expecting standard 64-940 levels and I'm pretty sure the web world is the same.

Click to expand...

Both of those indicate output values.

pgb said:

I'd shoot and edit in the standard 64-940. You must be using a Full range project in AE, try setting up a rec 709 sequence and the blacks should be now black not grey.

Click to expand...

Didn't the original post indicate levels were corrected by applying an appropriate curve?

the shooting with 16-235 is restriction reduce the dynamic range of the both end make the broadcast safe.

Victor Engel said:

pgb said:

The TV world is expecting standard 64-940 levels and I'm pretty sure the web world is the same.

Click to expand...

Both of those indicate output values.

Victor Engel said:

I'd shoot and edit in the standard 64-940. You must be using a Full range project in AE, try setting up a rec 709 sequence and the blacks should be now black not grey.

Click to expand...

Didn't the original post indicate levels were corrected by applying an appropriate curve?

Click to expand...

Sure you could just put a 709 lut on everything but as Sean stated unless you plan to
grade each shot why put it through the extra processing?

pgb said:

Victor Engel said:

pgb said:

The TV world is expecting standard 64-940 levels and I'm pretty sure the web world is the same.

Click to expand...

Both of those indicate output values.

pgb said:

I'd shoot and edit in the standard 64-940. You must be using a Full range project in AE, try setting up a rec 709 sequence and the blacks should be now black not grey.

Click to expand...

Didn't the original post indicate levels were corrected by applying an appropriate curve?

Click to expand...

Sure you could just put a 709 lut on everything but as Sean stated unless you plan to
grade each shot why put it through the extra processing?

Click to expand...

In order to have more latitude during processing.

Victor Engel said:

pgb said:

The TV world is expecting standard 64-940 levels and I'm pretty sure the web world is the same.

Click to expand...

Both of those indicate output values.

Click to expand...

It really depends on the output destination and how much control you have over that.

Displaying these images as "video" (AKA YUV) on a TV will truncate out of range levels beyond 64 or 940.

If you're truly only using RGB based displays like phones and tablets then the full range is acceptable for a teeny bit more DR.

Mostly though it doesn't make a whole lot of difference if you're grading and know what you're doing. The safer option is to grade for TV, You never know who might be looking at Vimeo / YouTube on aTV screen anyway.

JB

FWIW,

I had done an experiment a while ago about full-swing (0-255) v. studio-swing (16-235) levels....

Here's the thread I just started on it with an animated GIF of screen captures of the process:


FWIW, the Open Exr (openexr.com) plug-in

is a free image file codec you can use to export out of Premiere/After Effects and read in Photoshop and Speedgrade or the other Adobe applications.

As demonstrated, it will keep all the data in illegal values until you grade it for delivery, thus preserving the full range of data your original file had while you can still do major edits and export out.

Such is especially important if you are not capturing RAW frames and settle on a video codec such as a 10bit 4:2:2 Prores file captured off the GH5 in a Log profile with a higher dynamic than most screens currently can display.

• Again not only is your delivery display important (as the phones/web you cite means you'll have the entire range of quality in addition to people with poorly set/not calibrated monitors---so there's nothing you can do to guarantee your work will look good,

• but it also depends on the content you are shooting as well.

• Additionally, you will need to decide which process provides the easiest workflow for your typical situation.

-so there's no one answer......

Cheers!