I saw this on No Film School and thought it would be useful and maybe inspire some new hitfilm features that involve scopes and chrome keying
@MichaelJames Thanks for that, very technical breakdown. I have posted the start of the video URL again becuase yours seems to be about halfway in.
Excellent explanation of why you need scopes. Back in the day we would spend a great deal of time matching analog monitors to color bars before an edit or going to air.
The advent of "digital" video, progressive scan flat panels and computer editing in general has lent a false sense of "Aw, its digital . . .the color can't be off. Don't even need to worry about levels."
But I've got two flat panels in front of me right now that don't show the same color and if I put my video up on my "digital" TV it looks different there, too.
Without scopes and matching to color bars, you are flying blind. Even in the digital world. The basics of matching to bars still apply.
Bars and scopes are vitally important as most monitors sold these days don't actually reproduce the full NTSC color range, much less any wider gamut. Most LCD panels reproduce about 60% of the NTSC gamut (my current laptop, I spent an extra $300 for a monitor that reproduces 95% NTSC).
This means, even a calibrated monitor is probably wrong.
And Zebras are very very important while shooting as well.
@Stargazer54 ah, yes, the days of blue gun knob twiddling are long gone, but wasn't it lovely having mostly accurate color?
Yep. Calibrated tools give the best results.
Regarding NTSC and accurate color, i remember the first time i read "Never Twice the Same Color"
Scopes... and a way to work in multiple color spaces... and output to multiple color spaces. How about a "Fxhome sanctioned" 3rd party plugin built for that?
Good info. Thanks.
Hi, a great tool to make more better green screen movies. It works fine.
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