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These are the user uploaded subtitles that are being translated: 1 00:00:00,256 --> 00:00:02,304 Hello there and welcome back 2 00:00:02,816 --> 00:00:07,936 What are the time has finally come I've alluded to it for the past 3 weeks but we're finally going to talk 3 00:00:08,192 --> 00:00:09,472 About colour space 4 00:00:09,984 --> 00:00:16,128 And my goal is were talking about this is to understand the practical application of 5 00:00:16,384 --> 00:00:17,408 Colour space because 6 00:00:17,664 --> 00:00:20,224 I can get very confusing and very technical 7 00:00:20,480 --> 00:00:20,992 Quickly 8 00:00:21,504 --> 00:00:25,344 And the goal is to have a practical understanding of it 9 00:00:25,600 --> 00:00:27,392 With a minimal scientific 10 00:00:28,672 --> 00:00:29,440 So let's gets 11 00:00:30,208 --> 00:00:33,792 Now before we talk about how colour space is implemented in nuke 12 00:00:34,048 --> 00:00:37,888 We first need to understand what exactly colour space is for 13 00:00:38,656 --> 00:00:42,752 Well our goal is to have our work myriad 14 00:00:43,008 --> 00:00:45,056 In order to help achieve that 15 00:00:45,312 --> 00:00:49,920 We should be working in an environment that mirrors reality as closely as possible 16 00:00:51,456 --> 00:00:52,992 Linear colour space 17 00:00:53,760 --> 00:00:59,904 What exactly does that mean because nuke works in a linear colour space under the hood that's what everything 18 00:01:00,123 --> 00:01:02,363 Subtitled by -♪ online-courses.club ♪- We compress knowledge for you! https://t.me/joinchat/ailxpXoW3JVjYzQ1 19 00:01:02,364 --> 00:01:00,672 Is built on 20 00:01:01,696 --> 00:01:07,840 Well A linear colour space displays the relative brightness between objects as they exist in the room 21 00:01:09,888 --> 00:01:11,168 If we had two light 22 00:01:11,424 --> 00:01:12,448 Remote Bob 23 00:01:12,704 --> 00:01:15,008 Is twice as bright as like Barbie 24 00:01:15,264 --> 00:01:17,312 We will see the following luminance values 25 00:01:17,568 --> 00:01:19,360 In a linear colour space 26 00:01:19,872 --> 00:01:20,640 They would be 27 00:01:21,152 --> 00:01:22,688 And you would be .4 28 00:01:23,456 --> 00:01:29,600 The footage with a logarithmic colour space and will go into detail about exactly what this means 29 00:01:30,112 --> 00:01:31,392 We would see this Val 30 00:01:31,904 --> 00:01:33,952 Light bulb is that point 31 00:01:34,208 --> 00:01:36,256 Light bulb is that 0.7 32 00:01:37,280 --> 00:01:39,328 It's not like one Bob bryar 33 00:01:39,840 --> 00:01:45,472 Just being displayed in a colour space that isn't one-to-one with the actual intensity of the light 34 00:01:46,240 --> 00:01:47,264 So you may be asking 35 00:01:47,520 --> 00:01:48,544 Why does the smell 36 00:01:49,568 --> 00:01:52,896 Imagine a note was given to you to double the light intensity 37 00:01:53,152 --> 00:01:53,920 A bobby 38 00:01:54,176 --> 00:01:55,968 So that it matches like Bobby 39 00:01:56,480 --> 00:01:58,016 In a linear colour space 40 00:01:58,272 --> 00:02:00,832 That is easy as multiplying my Bobby 41 00:02:02,624 --> 00:02:05,184 Then suddenly in a logarithmic colour space 42 00:02:05,696 --> 00:02:07,744 Our calculation is not so straightforward 43 00:02:08,256 --> 00:02:14,400 In order to match the brightness of Bob we would need to multiply Ball by 1.1 44 00:02:15,424 --> 00:02:21,056 The strange number is required because our colour-space does not accurately match the real world 45 00:02:21,824 --> 00:02:24,896 We doubled our brightness with a seemingly random multiply 46 00:02:25,408 --> 00:02:28,480 And you can imagine how difficult managing exposures would be 47 00:02:28,736 --> 00:02:30,528 If we didn't have light up a door 48 00:02:30,784 --> 00:02:36,416 In this image you can see how a linear colour space properly matches are cameras exposure 49 00:02:37,440 --> 00:02:38,976 As we go from left to right 50 00:02:39,232 --> 00:02:43,584 Are camera is having the amount of light that it's letting into our lens 51 00:02:44,096 --> 00:02:50,240 The black number represents A linear colour space and the green number represents of logarithmic colour space 52 00:02:50,496 --> 00:02:53,056 And you can see that as we move from left to right 53 00:02:53,312 --> 00:02:58,432 The highlights in the darts in Ireland your colour space or perfectly have 54 00:02:59,200 --> 00:03:02,272 In the highlights in a logarithmic colour space 55 00:03:02,784 --> 00:03:04,064 It's been reduced by 56 00:03:04,320 --> 00:03:05,600 057 57 00:03:05,856 --> 00:03:12,000 In our Shadows in a logarithmic colour space the number of areas heavily in the first panel it's going 58 00:03:12,256 --> 00:03:15,328 .06 down in the next 1 x .07 59 00:03:15,584 --> 00:03:18,656 0.12 60 00:03:19,168 --> 00:03:25,312 And so as you can imagine those to make it very difficult to just double the brightness in a giver 61 00:03:26,592 --> 00:03:31,456 And imagine that we had multiple different cameras that were combined in footage from 62 00:03:31,968 --> 00:03:34,784 They are all going to have different colour space curves 63 00:03:35,296 --> 00:03:41,440 And you can imagine how difficult it would be to get the rolling off of the Shadows to look correct but 64 00:03:41,696 --> 00:03:44,000 Different cameras because they're Kershaw also did 65 00:03:44,512 --> 00:03:49,888 And that's another one of the reasons we want to convert Oliver elements into a linear colour space 66 00:03:50,144 --> 00:03:53,728 Bring them all in line with one another so any changes we may 67 00:03:53,984 --> 00:03:56,800 Are uniformly applied across your foot 68 00:03:57,312 --> 00:04:03,200 Singapore say we wanted to double our brightness we would just multiply all other elements by 2 69 00:04:03,968 --> 00:04:10,112 If we didn't convert our elements and I stayed in a logarithmic colour space we would need to figure out that way 70 00:04:10,368 --> 00:04:14,976 Multiplier for each other elements in order to technically double or brightness 71 00:04:15,232 --> 00:04:18,303 This is also directly related to C&G can pass 72 00:04:18,559 --> 00:04:24,447 Because 99.9999 9% of the time when you receive a CG exr 73 00:04:24,703 --> 00:04:27,007 It will be done in all in your colour space 74 00:04:27,263 --> 00:04:33,407 And unifying that with your footage is very important in it's going to be so much harder to get a CV 75 00:04:33,663 --> 00:04:34,175 You're real 76 00:04:34,431 --> 00:04:37,503 If a car is not properly set up in when you're colour 77 00:04:38,271 --> 00:04:42,367 The next I'd like to go over the three main types of colour spaces 78 00:04:42,879 --> 00:04:44,159 There is linear 79 00:04:44,415 --> 00:04:45,439 Logarithmic 80 00:04:45,951 --> 00:04:47,743 And Dewar aka video 81 00:04:47,999 --> 00:04:49,023 Colour spaces 82 00:04:49,791 --> 00:04:51,327 As we discussed before 83 00:04:51,583 --> 00:04:53,119 A linear colour space 84 00:04:53,375 --> 00:04:55,423 Imitates real world brightness 85 00:04:56,191 --> 00:05:01,311 In that it displays the relative brightness between the objects as they exist in Riyadh 86 00:05:02,335 --> 00:05:05,151 It should be the working space for every compositor using 87 00:05:05,407 --> 00:05:07,967 If you want to look at an image in its linear form 88 00:05:08,223 --> 00:05:10,527 It's actually a pretty ugly thing to look 89 00:05:11,295 --> 00:05:12,063 Don't worry 90 00:05:12,319 --> 00:05:13,599 Will just using this to work 91 00:05:14,111 --> 00:05:16,927 And you're not using it for the final viewing of April 92 00:05:17,695 --> 00:05:18,975 In a graph at the bottom 93 00:05:19,231 --> 00:05:22,815 You can see that on our x-axis we have the real world 94 00:05:23,071 --> 00:05:25,631 As it increasing in Dublin 95 00:05:25,887 --> 00:05:30,239 Footage RGB value is also uniformly increasing 96 00:05:30,751 --> 00:05:32,031 Giving us a link 97 00:05:32,287 --> 00:05:33,055 Colour space 98 00:05:33,567 --> 00:05:37,407 And one of the key components of a linear colour space is that it's floating point 99 00:05:37,663 --> 00:05:39,967 We can have values that are brighter than 100 00:05:40,223 --> 00:05:42,783 Yellow colour spaces generally Kent do 101 00:05:43,551 --> 00:05:45,343 So now let's talk about the 102 00:05:46,623 --> 00:05:49,183 So I wonder if the colour space AKA 103 00:05:49,439 --> 00:05:55,583 A large pillar space is used by high-end cameras to retain the most amount of data pass 104 00:05:56,351 --> 00:05:59,679 They do this by compressing the luminance values very tightly 105 00:06:00,191 --> 00:06:02,495 Typically between the values of .1 106 00:06:02,751 --> 00:06:04,543 Appoint 7 if you were the same 107 00:06:05,311 --> 00:06:11,455 This makes the relative luminance data not accurate to the real world when they recording with these cameras are trying to get them 108 00:06:11,711 --> 00:06:13,759 The man of dynamic range in their images pass 109 00:06:14,015 --> 00:06:16,319 So the flattening all these values 110 00:06:16,575 --> 00:06:18,367 And because of these flat values 111 00:06:18,623 --> 00:06:21,695 A login page will appear very washed out and 112 00:06:21,951 --> 00:06:22,975 As we can see here 113 00:06:23,743 --> 00:06:29,887 There are many different types of log colour spaces there is the Alexa V3 like sea there's a slug 114 00:06:30,143 --> 00:06:31,935 Dragon Wars Canon lore 115 00:06:32,191 --> 00:06:37,055 There is a slight variations between these colour spaces but they all follow the same basic print 116 00:06:38,079 --> 00:06:42,175 You can press the luminance that are used to retain as much detail as possible 117 00:06:42,943 --> 00:06:46,271 Auto you can retain large amounts of data while recording to log 118 00:06:46,527 --> 00:06:48,831 Thanks to High bit depth and cameras 119 00:06:49,087 --> 00:06:52,159 You are still limited to range between 0 and 120 00:06:52,927 --> 00:06:54,975 Anything beyond these values will 121 00:06:55,999 --> 00:06:56,767 And that's why 122 00:06:57,023 --> 00:07:00,607 The Kerb is so flat at the top to retain the brightest Bright Sparks 123 00:07:01,887 --> 00:07:05,983 Now the third type of colour space is when I called the Dior video colour 124 00:07:06,239 --> 00:07:11,871 This is the classification of colour spaces I've kind of come up with because it's a very Broad 125 00:07:12,639 --> 00:07:13,919 Ultimately 126 00:07:14,175 --> 00:07:16,223 If your colour is space isn't in 127 00:07:16,479 --> 00:07:19,039 When your colour space or a log colour space 128 00:07:19,295 --> 00:07:21,343 It's most likely in a viewer colour 129 00:07:22,367 --> 00:07:26,463 This colour space represents footage that has been artistically colour 130 00:07:27,231 --> 00:07:29,791 It is not based on real-world value 131 00:07:30,047 --> 00:07:32,095 Rather what looks good to the eye 132 00:07:32,863 --> 00:07:35,167 When a colour has been working on a log burner 133 00:07:35,423 --> 00:07:40,031 Here she will commonly first apply in srgb or rec 709 134 00:07:40,287 --> 00:07:44,127 To have a baseline colour space conversion to make it visually appealing 135 00:07:45,151 --> 00:07:51,039 What's we have added to a shot that up the weeks follow the exact same principles by making off but it's more 136 00:07:52,319 --> 00:07:58,463 You can see visually this image looks the best of all the places we used so far but it's in 10 137 00:07:58,719 --> 00:07:59,231 To be viewed 138 00:07:59,487 --> 00:08:00,511 Not to be worked 139 00:08:01,023 --> 00:08:03,583 Because this also does not accurately represent 140 00:08:03,839 --> 00:08:05,375 The increasing and brightness 141 00:08:07,423 --> 00:08:12,031 Typically viewer colour spaces will not have that much data in there not floating point 142 00:08:12,287 --> 00:08:18,431 And they are typically the hardest colour space to convert to when you're because you don't know exactly what 143 00:08:18,687 --> 00:08:19,711 The colourist did 144 00:08:20,223 --> 00:08:26,367 In Newport working in a linear colour space or what were the viewing is a view or light on top of that 145 00:08:26,623 --> 00:08:28,671 So we can see what the final result will look like 146 00:08:28,927 --> 00:08:29,695 When it's cut 147 00:08:29,951 --> 00:08:31,999 Are the times of beer colour space 148 00:08:32,255 --> 00:08:38,399 Still running to claim being issues where you lose values because the colour of skull is it to retain data it's to make the image look 149 00:08:38,655 --> 00:08:39,423 Visually appealing 150 00:08:40,959 --> 00:08:44,543 So now let's start talking about how this applies to New 151 00:08:44,799 --> 00:08:50,943 I'm working in nuke are typically multiple color space conversions occurring and it's important to know exactly what 152 00:08:51,199 --> 00:08:51,711 Going on 153 00:08:52,223 --> 00:08:53,759 At the most basic level 154 00:08:54,015 --> 00:08:56,319 3 colour space conversions happy 155 00:08:56,831 --> 00:08:59,391 We have our read note input conversion 156 00:08:59,647 --> 00:09:02,719 The goal of this is to linearise our footage 157 00:09:03,487 --> 00:09:05,023 We have our right now 158 00:09:05,279 --> 00:09:06,559 Output conversion 159 00:09:06,815 --> 00:09:10,143 Which is going to return or footage to its original colour space 160 00:09:10,655 --> 00:09:12,447 And then we have our Buick invoice 161 00:09:12,959 --> 00:09:14,751 And this is the light on top 162 00:09:15,007 --> 00:09:19,103 Farm in your colour space so we can view it in an aesthetically pleasing 163 00:09:19,615 --> 00:09:22,431 So what's happened to nuke and see this in action 164 00:09:23,455 --> 00:09:25,759 So I brought week to spillage into 165 00:09:26,015 --> 00:09:27,295 To use as an example 166 00:09:27,807 --> 00:09:32,671 So what I want to do first is turn off all the colour space conversions that noob is currently 167 00:09:33,183 --> 00:09:34,207 Because there's two 168 00:09:34,719 --> 00:09:36,255 We have an input conversion 169 00:09:36,767 --> 00:09:38,559 Which has been very net from Alexa 170 00:09:39,071 --> 00:09:40,863 And we have a viewer converter 171 00:09:41,375 --> 00:09:43,679 Which is up here interviewer as srgb 172 00:09:44,447 --> 00:09:46,239 Sunday Turner input conversion 173 00:09:46,495 --> 00:09:50,591 We can set the Sterling here which means I want no colour space 174 00:09:50,847 --> 00:09:51,359 Used to happen 175 00:09:52,127 --> 00:09:52,895 And viewer 176 00:09:53,151 --> 00:09:55,199 We can set a colour space to none 177 00:09:56,223 --> 00:09:58,271 Now what we have is all washed out 178 00:09:58,783 --> 00:09:59,551 Log in 179 00:10:00,345 --> 00:10:02,248 Subtitled by -♪ online-courses.club ♪- We compress knowledge for you! https://t.me/joinchat/ailxpXoW3JVjYzQ1 180 00:10:02,250 --> 00:10:01,343 Because that's what this was shot 181 00:10:02,111 --> 00:10:06,207 If you were to open this in any other program this is what the colour wood 182 00:10:06,719 --> 00:10:08,255 Nice and flight and washed out 183 00:10:09,023 --> 00:10:10,559 And so let's explicitly 184 00:10:10,815 --> 00:10:12,607 Input colour converter 185 00:10:13,119 --> 00:10:13,631 Not 186 00:10:13,887 --> 00:10:15,679 Using the colour safe 187 00:10:16,447 --> 00:10:18,495 I'm going to make a colour space node 188 00:10:21,055 --> 00:10:21,823 And you'll see 189 00:10:22,079 --> 00:10:25,407 We have our familiar list of colour space options here 190 00:10:25,919 --> 00:10:32,063 And ignore this d65 and srgb really you don't need any of these mobs except for the 191 00:10:32,319 --> 00:10:33,087 In and out tab 192 00:10:33,855 --> 00:10:35,391 And so if you look at the strap 193 00:10:35,647 --> 00:10:38,719 Either all of the default colour space conversions 194 00:10:38,975 --> 00:10:43,583 This list is the exact same as the list we have in our reader mode 195 00:10:43,839 --> 00:10:45,887 And your nearest the list is the same 196 00:10:46,911 --> 00:10:47,679 In r 197 00:10:47,935 --> 00:10:48,447 And help 198 00:10:49,215 --> 00:10:55,103 And now what I'm about to tell you is the most important concept to grasp about colour space in 199 00:10:55,871 --> 00:10:57,919 Each colour space auction 200 00:10:58,431 --> 00:10:59,711 Has two distinct 201 00:10:59,967 --> 00:11:00,735 Stuart 202 00:11:01,503 --> 00:11:02,783 It has an input Curve 203 00:11:03,295 --> 00:11:04,063 In an hour 204 00:11:05,343 --> 00:11:08,159 Sophie set Alexa to our in 205 00:11:08,671 --> 00:11:10,975 Were using input Alexa 206 00:11:12,255 --> 00:11:13,535 Change that back to one year 207 00:11:14,047 --> 00:11:15,071 If you're selling 208 00:11:15,327 --> 00:11:16,607 When using r output 209 00:11:17,631 --> 00:11:21,215 Very different things happened to our footage 210 00:11:21,471 --> 00:11:24,031 That's looking a quick recap of what this looks like on a car 211 00:11:24,799 --> 00:11:27,871 As you can see on the input conversion on her left 212 00:11:28,383 --> 00:11:31,711 It's the perfect opposite of the output conversion on her way 213 00:11:32,479 --> 00:11:35,551 And so if you were to apply both of these to your image 214 00:11:35,807 --> 00:11:36,575 The result 215 00:11:36,831 --> 00:11:38,623 Will it be no colour 216 00:11:40,159 --> 00:11:41,951 And so where we want to work in you 217 00:11:42,463 --> 00:11:43,743 Is right in the middle 218 00:11:44,255 --> 00:11:46,815 This is our linear colour space 219 00:11:48,351 --> 00:11:49,631 Let's go back into the 220 00:11:50,143 --> 00:11:53,727 I have my colour space known here I'm going to change the statue on here 221 00:11:54,239 --> 00:11:56,543 And I'm going to sat or input 222 00:11:56,799 --> 00:11:57,567 To Alexa 223 00:11:58,591 --> 00:11:59,871 Copy and paste 224 00:12:00,383 --> 00:12:01,663 And I have a look at here 225 00:12:01,919 --> 00:12:04,735 And I will change this colour space to Alexa as well 226 00:12:05,247 --> 00:12:06,783 Because the read node 227 00:12:07,039 --> 00:12:12,159 Colour space tab is looking for the input Curve of the selected colour space 228 00:12:12,415 --> 00:12:14,463 Selfie a b between these two 229 00:12:15,743 --> 00:12:18,815 There is absolutely no difference because the same exam 230 00:12:19,071 --> 00:12:20,095 Colour space Curve 231 00:12:20,351 --> 00:12:21,375 Is being up 232 00:12:23,423 --> 00:12:29,567 Converting your colour space like this is pretty unorthodox but it's still technically correct you could read all your footage 233 00:12:29,823 --> 00:12:33,407 And use colour space notes to do explicit transformation 234 00:12:34,687 --> 00:12:36,479 So what exactly is happening 235 00:12:36,735 --> 00:12:39,039 Whenever using input colour space 236 00:12:39,807 --> 00:12:41,343 The simplest explanation 237 00:12:41,599 --> 00:12:44,927 Is that were expecting a colour space that has a known Curve 238 00:12:45,183 --> 00:12:48,255 Emma telling Luke to x r footage 239 00:12:48,511 --> 00:12:51,583 With that inverted Curve give us a linear result 240 00:12:52,351 --> 00:12:54,911 That's why selecting the right colour space is 241 00:12:55,423 --> 00:12:58,495 Because they don't give you the most accurate linearisation pass 242 00:12:59,007 --> 00:13:01,567 Now let's take a look at the output Theory 243 00:13:02,079 --> 00:13:02,847 Of our 244 00:13:03,615 --> 00:13:04,383 Colour space 245 00:13:05,151 --> 00:13:06,687 So if we were to make 246 00:13:07,455 --> 00:13:11,295 Another colour space known for the sake of keeping this nice and organised 247 00:13:12,063 --> 00:13:13,343 What does coldest 248 00:13:13,599 --> 00:13:14,623 Input conversion 249 00:13:19,999 --> 00:13:24,863 Now if we wanted to die when your eyes are footage we would use the output flavour 250 00:13:25,119 --> 00:13:26,399 Of the Alexa 251 00:13:27,167 --> 00:13:28,959 And you're the one we turn it off 252 00:13:29,215 --> 00:13:32,031 There is 0 shift that happens in our food 253 00:13:32,799 --> 00:13:34,335 Label this output 254 00:13:34,591 --> 00:13:36,127 Conversion very quickly 255 00:13:36,895 --> 00:13:38,943 And so this our conversion 256 00:13:39,199 --> 00:13:40,735 Is what happens when you use 257 00:13:43,039 --> 00:13:46,367 When you decide to write this out and you still like a colour space 258 00:13:46,879 --> 00:13:48,671 It's using the output flavour 259 00:13:48,927 --> 00:13:50,207 Of your colour space 260 00:13:51,231 --> 00:13:53,279 It's Tricky when you're looking at this in New York 261 00:13:53,535 --> 00:13:57,375 Because you can actually see the colour space conversion that happens 262 00:13:57,631 --> 00:13:59,423 It's a current on x 263 00:14:00,703 --> 00:14:04,031 But this is the best way to visualise it with a colour space 264 00:14:05,055 --> 00:14:05,823 If you like 265 00:14:06,079 --> 00:14:06,847 You could 266 00:14:07,103 --> 00:14:08,639 Copy this output conversion 267 00:14:09,407 --> 00:14:10,175 Throw it here 268 00:14:10,943 --> 00:14:11,455 Candice 269 00:14:11,967 --> 00:14:13,247 Linearizing 270 00:14:14,271 --> 00:14:15,295 Make a right note 271 00:14:15,551 --> 00:14:17,343 And write it out in linear 272 00:14:18,111 --> 00:14:21,951 Again Lenny or means there's going to be no color space transformation happy 273 00:14:22,463 --> 00:14:23,487 So when you write this out 274 00:14:23,743 --> 00:14:25,023 What Racine in now 275 00:14:25,279 --> 00:14:27,071 Is exactly what we will get 276 00:14:28,095 --> 00:14:29,887 And so I'm going to delete this really quick 277 00:14:30,399 --> 00:14:36,543 And now maybe it makes a little more sense by the general rule of thumb is to have your read node input 278 00:14:36,799 --> 00:14:38,335 Space match your 279 00:14:38,591 --> 00:14:39,615 Write note 280 00:14:39,871 --> 00:14:42,175 Because they're going to cancel each other out 281 00:14:42,431 --> 00:14:43,967 And that colour shift your phone 282 00:14:44,735 --> 00:14:48,063 Now that we understand how input and output conversions will happen 283 00:14:48,319 --> 00:14:51,135 What's take a look at the final conversion that you 284 00:14:51,391 --> 00:14:52,159 Typically what we doing 285 00:14:52,415 --> 00:14:53,951 And that's are viewer 286 00:14:54,207 --> 00:14:54,719 Colour space 287 00:14:55,999 --> 00:14:57,535 So we bring in 288 00:14:58,047 --> 00:15:03,167 Forage and we'll linearize it like this it doesn't look good but this is technically correct 289 00:15:03,679 --> 00:15:06,495 If we like this one is reaching at 70 290 00:15:07,007 --> 00:15:08,799 Which is exactly what we want 291 00:15:09,311 --> 00:15:12,127 And you can see that nice little fall off of the light 292 00:15:12,639 --> 00:15:15,711 Because it's saying this left side is 16 times brighter 293 00:15:16,223 --> 00:15:17,503 Actually even more than that 294 00:15:18,015 --> 00:15:22,879 Tennis near right side and that kind of Luminous disparity is exactly what your 295 00:15:24,159 --> 00:15:26,975 If we didn't do a colour conversion on this 296 00:15:27,743 --> 00:15:31,071 Watch this is reading around 7 297 00:15:31,327 --> 00:15:33,631 And the right side is it .2 for 298 00:15:34,399 --> 00:15:40,031 And that is not even remotely close to the actual brightness difference on the left and right side of this part 299 00:15:41,311 --> 00:15:43,103 So we have an image in the right 300 00:15:43,359 --> 00:15:43,871 Space 301 00:15:44,383 --> 00:15:45,407 And by default 302 00:15:45,663 --> 00:15:47,711 Nuke applies of euro 303 00:15:48,735 --> 00:15:50,015 Srgb 304 00:15:51,039 --> 00:15:54,111 We talked a little bit about having a standard srgb 305 00:15:54,367 --> 00:15:56,159 Conversion isn't as good as ASUS 306 00:15:56,415 --> 00:15:57,951 For the sake of the 16th 307 00:15:58,207 --> 00:16:01,535 It's fine because this image doesn't look too bad - be 308 00:16:01,791 --> 00:16:04,863 In so what does colour spaces do in 309 00:16:05,119 --> 00:16:08,447 Is it taking the output Curve of the selected 310 00:16:08,703 --> 00:16:11,519 Colour space and applying it on of your own 311 00:16:12,031 --> 00:16:12,799 And you can see 312 00:16:13,055 --> 00:16:15,103 It's not actually changing the voice 313 00:16:15,359 --> 00:16:17,663 What's the sample on this ball 314 00:16:17,919 --> 00:16:20,479 We can see how bright this is we change 315 00:16:20,991 --> 00:16:26,879 Colour space for viewer that are RGB values are not changing 316 00:16:27,135 --> 00:16:28,159 And that's because 317 00:16:28,415 --> 00:16:33,791 This Villa is a post process it's not actually affecting or pixels under the 318 00:16:34,303 --> 00:16:37,631 It's just giving us something a little more visually pleasing to look 319 00:16:38,655 --> 00:16:44,799 And ideally you want this for your process to match your final colour environment as closely as possible 320 00:16:45,311 --> 00:16:49,151 And so we can Minack what is going on in vivo process 321 00:16:49,663 --> 00:16:51,455 What's at the Stena Line and turn it off 322 00:16:52,223 --> 00:16:54,271 Make another colour space node 323 00:16:58,367 --> 00:16:59,135 Oh my god 324 00:16:59,647 --> 00:17:01,183 And if we set are out 325 00:17:01,951 --> 00:17:02,719 2 srgb 326 00:17:03,487 --> 00:17:05,279 This is the exact same thing 327 00:17:05,791 --> 00:17:07,839 Is setting a reviewer to srt 328 00:17:08,607 --> 00:17:10,655 It's using the output Curve 329 00:17:10,911 --> 00:17:12,191 When you have a colour space 330 00:17:13,983 --> 00:17:17,311 What's take another look at this but will use aces this time 331 00:17:18,847 --> 00:17:20,895 We can go ahead and change your setting 332 00:17:21,151 --> 00:17:21,919 2 aces 333 00:17:23,711 --> 00:17:24,991 We're all Emmerdale 334 00:17:25,247 --> 00:17:26,015 You can set 335 00:17:26,527 --> 00:17:28,319 Colour space to raw 336 00:17:28,575 --> 00:17:32,159 What is easiest way of saying don't do any colour space conversions 337 00:17:32,927 --> 00:17:33,951 And we was set 338 00:17:34,207 --> 00:17:35,487 Or image here 339 00:17:35,999 --> 00:17:37,535 2 aces CG 340 00:17:37,791 --> 00:17:40,351 Which is the same thing as Mania 341 00:17:41,119 --> 00:17:44,703 And we'll see this looks exactly the same as when we had it in Luke's default 342 00:17:44,959 --> 00:17:45,471 Space 343 00:17:45,983 --> 00:17:50,591 And now we need to use aces waiver of color space transformation notes 344 00:17:50,847 --> 00:17:52,383 Witcher ocio colour 345 00:17:55,711 --> 00:17:56,991 And so again 346 00:17:57,247 --> 00:17:59,807 To make this in Alexa colour space 347 00:18:00,063 --> 00:18:01,087 Washington at 2 348 00:18:01,343 --> 00:18:02,879 Harry 349 00:18:03,903 --> 00:18:05,183 And now this is love 350 00:18:05,439 --> 00:18:07,231 And now we can go to work 351 00:18:07,487 --> 00:18:09,023 Srgb 352 00:18:09,279 --> 00:18:13,375 And there is a colour space you can flip through these to see which of 353 00:18:13,631 --> 00:18:14,655 Looks nice 354 00:18:17,727 --> 00:18:18,239 You typically 355 00:18:19,007 --> 00:18:21,055 And then what changes to rot again 356 00:18:21,567 --> 00:18:23,615 Make another ocio now 357 00:18:27,711 --> 00:18:30,271 Now if you want to mimic or viewer colour space 358 00:18:30,527 --> 00:18:32,831 We can grab any of these output curves 359 00:18:34,111 --> 00:18:34,879 And applied 360 00:18:35,647 --> 00:18:37,695 And then this is exactly what we were seeing 361 00:18:37,951 --> 00:18:38,719 Interview 362 00:18:39,487 --> 00:18:41,791 And there's something I would like to make very clear 363 00:18:42,303 --> 00:18:46,143 Even though this category of colour spaces is called output 364 00:18:46,911 --> 00:18:51,263 Each of these colour spaces has a distinct input and output 365 00:18:52,031 --> 00:18:55,615 The naming convention I think is a little more confusing than it needs to be 366 00:18:55,871 --> 00:18:59,711 Just keep that in mind that is really two curves for these output colour space 367 00:19:00,479 --> 00:19:02,527 Go back to talking about your process 368 00:19:03,295 --> 00:19:08,159 Disadvantage of grading of your process this way is that as recycling 369 00:19:08,415 --> 00:19:11,231 This actually does change the relative value 370 00:19:11,743 --> 00:19:13,023 Go ahead and Singapore 371 00:19:13,279 --> 00:19:16,351 In this area again it's Rena pt99 372 00:19:16,863 --> 00:19:17,631 Turn this off 373 00:19:18,655 --> 00:19:20,191 It's back up to 70 374 00:19:21,727 --> 00:19:24,031 Best to rec709 interviewer 375 00:19:24,799 --> 00:19:25,567 It doesn't 376 00:19:26,335 --> 00:19:28,639 And so that's why you don't generally work 377 00:19:28,895 --> 00:19:29,663 Like this 378 00:19:30,431 --> 00:19:34,527 And remember we made that for your process in weeks 1 and 2 379 00:19:35,039 --> 00:19:37,599 Your head and do that really quick 380 00:19:38,623 --> 00:19:40,159 With a colour space node 381 00:19:40,415 --> 00:19:42,463 We'll go to our view our settings 382 00:19:43,487 --> 00:19:46,047 If you can't retrieve your settings just make sure you clear 383 00:19:46,303 --> 00:19:49,119 All of your properties that ass in the viewer 384 00:19:49,887 --> 00:19:51,167 We will copy the name 385 00:19:52,191 --> 00:19:52,703 Paste 386 00:19:52,959 --> 00:19:53,471 Here 387 00:19:56,287 --> 00:19:56,799 It's very well 388 00:19:57,311 --> 00:19:58,079 Okapi 389 00:19:59,103 --> 00:19:59,871 Is the name 390 00:20:00,639 --> 00:20:01,919 Now we have argument 391 00:20:02,687 --> 00:20:03,967 We can change this 392 00:20:04,735 --> 00:20:05,247 2 393 00:20:05,759 --> 00:20:06,527 Rec 709 394 00:20:08,063 --> 00:20:09,343 Turn this one off 395 00:20:10,111 --> 00:20:11,903 And you'll see this also does not 396 00:20:12,159 --> 00:20:14,207 Change the value because it's a poo 397 00:20:14,463 --> 00:20:15,743 That is happy 398 00:20:16,255 --> 00:20:20,351 So you can make all the work colour-space adjustments you want but your underlying values 399 00:20:20,607 --> 00:20:21,887 I'm using these two 400 00:20:22,143 --> 00:20:22,911 Will not 401 00:20:24,959 --> 00:20:26,495 I'm going to delete this 402 00:20:27,519 --> 00:20:28,031 And 403 00:20:28,287 --> 00:20:28,799 Keep the cell 404 00:20:29,055 --> 00:20:30,079 Srgb 405 00:20:31,615 --> 00:20:33,407 Actually let's change this to rar 406 00:20:33,663 --> 00:20:36,479 I want to talk about something that upsets 407 00:20:37,503 --> 00:20:38,527 And that is 408 00:20:39,039 --> 00:20:39,807 Effective 409 00:20:41,087 --> 00:20:41,855 Mouse learning 410 00:20:42,367 --> 00:20:44,415 How to apply colour space 411 00:20:45,183 --> 00:20:47,743 This node really threw me through a loop 412 00:20:48,255 --> 00:20:49,279 Because you would think 413 00:20:49,535 --> 00:20:50,559 Colour space in 414 00:20:50,815 --> 00:20:52,863 Would it be applying input 415 00:20:54,143 --> 00:20:54,655 Would be 416 00:20:54,911 --> 00:20:55,679 Sign and helper 417 00:20:56,447 --> 00:20:57,471 Actually 418 00:20:57,727 --> 00:20:58,239 Exact 419 00:20:58,495 --> 00:20:59,007 Opposite 420 00:21:00,031 --> 00:21:02,079 I'm going to go back to standard 421 00:21:02,335 --> 00:21:03,359 Colour space for this 422 00:21:08,479 --> 00:21:08,991 Go back 423 00:21:14,623 --> 00:21:15,647 Wallpaper 424 00:21:15,903 --> 00:21:16,928 Filled in here 425 00:21:18,464 --> 00:21:20,000 Or grab or lip from weed 426 00:21:24,096 --> 00:21:26,144 And this looks correct this is well lyrics 427 00:21:27,424 --> 00:21:29,728 So let's start doing some 428 00:21:30,240 --> 00:21:31,520 Collarspace adjustment 429 00:21:31,776 --> 00:21:33,568 Like we would be doing if you were composite 430 00:21:35,872 --> 00:21:37,664 So the input Curve is Alexa 431 00:21:38,176 --> 00:21:40,224 And now we having your eyes 432 00:21:41,760 --> 00:21:43,040 Now in a vector file 433 00:21:43,552 --> 00:21:44,832 This one that be applied 434 00:21:45,088 --> 00:21:46,880 Correctly because it's expecting 435 00:21:47,136 --> 00:21:48,416 Lenient 436 00:21:49,952 --> 00:21:53,024 So you can actually use this colour space in 437 00:21:53,280 --> 00:21:54,048 To apply 438 00:21:54,304 --> 00:21:54,816 The out 439 00:21:55,072 --> 00:21:57,120 Flavour of our Alexa in here 440 00:21:57,376 --> 00:21:58,400 So that it looks 441 00:21:59,168 --> 00:22:01,472 So despite be named the same thing 442 00:22:01,728 --> 00:22:03,776 The colour space in Tab in your 443 00:22:04,032 --> 00:22:08,128 Sheffield does the opposite of the intab in the colour space 444 00:22:08,640 --> 00:22:10,176 The colour space in knob 445 00:22:10,432 --> 00:22:11,456 In vector field 446 00:22:11,712 --> 00:22:12,992 What apply in 447 00:22:13,760 --> 00:22:16,320 Really close space out tab in the vector field 448 00:22:16,576 --> 00:22:17,344 What apply 449 00:22:17,600 --> 00:22:18,624 An input Curve 450 00:22:19,392 --> 00:22:21,952 Sofia to change this to srgb 451 00:22:23,232 --> 00:22:25,792 That we haven't srgb input applied 452 00:22:26,560 --> 00:22:27,840 And remember or viewer 453 00:22:28,096 --> 00:22:29,120 Help 454 00:22:29,632 --> 00:22:31,424 We change this to srgb 455 00:22:31,680 --> 00:22:34,752 They cancel each other out and give us our desired 456 00:22:35,264 --> 00:22:37,568 This looks exactly as we would expect 457 00:22:38,336 --> 00:22:39,104 With Charlotte 458 00:22:40,384 --> 00:22:42,944 This is very confusing and it just 459 00:22:43,456 --> 00:22:49,088 Really bothers me that it's not more explicit it makes sense if you're looking at just the vector field now 460 00:22:49,344 --> 00:22:51,648 But when you look at it in the context of nuke 461 00:22:51,904 --> 00:22:54,208 Name in at the exact same thing as another name 462 00:22:54,464 --> 00:22:55,744 Having to do the opposite 463 00:22:56,256 --> 00:22:57,280 Really doesn't make any 464 00:22:58,304 --> 00:23:01,376 And that will be the end of my vector Fields colour split screen 465 00:23:02,400 --> 00:23:05,472 And so now that we know how exactly colour space works in you 466 00:23:05,728 --> 00:23:08,032 Let's talk about how we select Cars 467 00:23:08,288 --> 00:23:12,640 Spacers your ability to pick an accurate colour space is entirely dependant 468 00:23:12,896 --> 00:23:14,688 On what you know about your foot 469 00:23:15,456 --> 00:23:19,040 We're going to go over the 4 questions I ask when I'm trying to do 470 00:23:19,296 --> 00:23:20,576 What colour space to use 471 00:23:21,600 --> 00:23:25,952 Is there any medi at that explicitly says what colour space or gamemaker 472 00:23:26,208 --> 00:23:27,488 Was used on the foot 473 00:23:29,024 --> 00:23:29,536 2 474 00:23:30,304 --> 00:23:35,424 Do we have any set reports are written documentation on what colour space was used for your cam 475 00:23:36,960 --> 00:23:37,472 3 476 00:23:37,984 --> 00:23:41,056 Do we know at least what brand of camera this was shot 477 00:23:41,568 --> 00:23:43,872 Limit our search to colour space Curve 478 00:23:44,128 --> 00:23:45,408 Specific to that camera 479 00:23:46,688 --> 00:23:48,736 And then if you don't know any of the above 480 00:23:48,992 --> 00:23:52,064 You need to identify the current category 481 00:23:52,320 --> 00:23:56,160 Colour space that is in and do your best to approx 482 00:23:56,928 --> 00:24:03,072 If you don't know any of this information it can be very difficult in potentially impossible to discover the correct colours 483 00:24:03,584 --> 00:24:08,960 A lot of furniture that is my colour corrected it really is impossible to properly clean your eyes 484 00:24:09,472 --> 00:24:13,312 And that's one of the reasons that's stuck but it can be very difficult to let me rise 485 00:24:13,568 --> 00:24:14,080 Because 486 00:24:14,336 --> 00:24:17,664 There's not really any way of knowing how the colour has been 487 00:24:19,200 --> 00:24:24,320 Let's see this in action in talk about the colour space that I shot for this class and how I feel 488 00:24:25,344 --> 00:24:28,160 Cottage for the first 4 weeks of this class was shot 489 00:24:28,416 --> 00:24:29,440 Black magic 490 00:24:30,720 --> 00:24:35,328 This camera has its own flavour of a log Curve that uses black magic 491 00:24:35,840 --> 00:24:37,376 An Asus really only has 492 00:24:37,632 --> 00:24:39,680 Hi and cinema cameras to choose 493 00:24:39,936 --> 00:24:40,448 Input 494 00:24:41,472 --> 00:24:42,496 So what do you do 495 00:24:43,264 --> 00:24:47,616 What you need to find a curve that closely approximates the one that you're using 496 00:24:48,384 --> 00:24:49,152 In this instance 497 00:24:49,408 --> 00:24:54,784 The blackmagic log Curve is very similar to the area Alexa log CV3 498 00:24:56,320 --> 00:24:59,904 And so I ended up using that to get the most accurate linearization 499 00:25:00,160 --> 00:25:01,952 Possible with an Asus 500 00:25:02,464 --> 00:25:04,768 It's definitely not a perfect one to one match 501 00:25:05,280 --> 00:25:07,840 But I know that it is very close 502 00:25:08,096 --> 00:25:08,864 To an Alexa 503 00:25:09,120 --> 00:25:11,680 And it's definitely within the same category of War 504 00:25:12,192 --> 00:25:14,496 And so it was good and ok too 505 00:25:15,264 --> 00:25:18,336 What's talk about another type of camera that's commonly used 506 00:25:18,592 --> 00:25:21,152 That it may be a little tricky to find the colour space 507 00:25:21,408 --> 00:25:22,432 I'm talking about 508 00:25:22,688 --> 00:25:23,712 Otters 509 00:25:24,224 --> 00:25:30,368 Dslrs modern ones do you have some log curves but a lot of them don't they just 510 00:25:30,624 --> 00:25:34,720 Standard rec709 those different hacks for dslrs to get curry 511 00:25:35,232 --> 00:25:37,280 But I can be very difficult to figure out 512 00:25:37,536 --> 00:25:39,328 What exactly you should be you 513 00:25:40,096 --> 00:25:41,120 If you're using the 514 00:25:41,376 --> 00:25:42,144 Default 515 00:25:43,424 --> 00:25:47,264 From your DSLR ads are it's an srgb or x 709 516 00:25:47,776 --> 00:25:49,056 And that's how you shouldn't 517 00:25:49,312 --> 00:25:50,336 Colour space 518 00:25:50,592 --> 00:25:55,968 The trick with the srgb my 1.8 all of these kind of viewer 519 00:25:56,224 --> 00:25:57,248 Public spaces 520 00:25:57,504 --> 00:26:02,880 Is a typically don't let your eyes very well and I don't give you a large range of luminance value 521 00:26:03,136 --> 00:26:03,648 To play with 522 00:26:03,904 --> 00:26:06,720 And that's just a casualty of working with a lower 523 00:26:08,000 --> 00:26:09,280 And unfortunately 524 00:26:09,536 --> 00:26:15,680 This goes for a lot of sacrilege as well anything that you get that visually appealing that it's been colour corrected 525 00:26:16,192 --> 00:26:16,704 Good 526 00:26:16,960 --> 00:26:20,288 You're probably have to use one of these if you were colour spaces 527 00:26:20,544 --> 00:26:21,056 The transfer 528 00:26:21,824 --> 00:26:26,176 And that's why the general brought is if you don't know the colour space and its been coloured 529 00:26:26,688 --> 00:26:27,712 Use a sword 530 00:26:28,736 --> 00:26:30,016 That's why in week 2 531 00:26:30,272 --> 00:26:31,552 Use srgb 532 00:26:31,808 --> 00:26:33,344 For that stock photographs 533 00:26:33,600 --> 00:26:35,136 And then week 3 534 00:26:35,392 --> 00:26:36,160 Freddie Starr 535 00:26:36,416 --> 00:26:42,560 Video we use that was also srgb because I really wasn't anyway to tell what camera it was 536 00:26:42,816 --> 00:26:44,608 Looks like it has been coloured in 537 00:26:45,120 --> 00:26:46,144 So we use dove 538 00:26:48,448 --> 00:26:51,008 When you using CGI elements as exr 539 00:26:51,264 --> 00:26:57,152 Like we said earlier they were almost always be linear or 99.9999 9% of the time 540 00:26:57,408 --> 00:27:03,552 They're going to be linear and that's a pretty good rule of thumb for x ours if you don't know what colour space 541 00:27:03,808 --> 00:27:04,320 They should be 542 00:27:04,576 --> 00:27:06,112 It's probably linear 543 00:27:07,392 --> 00:27:10,208 And now is where I do have to make a confession 544 00:27:10,976 --> 00:27:12,000 In week 1 545 00:27:12,768 --> 00:27:14,048 We should not have used 546 00:27:14,304 --> 00:27:15,840 The srgb colour space 547 00:27:16,352 --> 00:27:17,376 Technically 548 00:27:17,632 --> 00:27:19,168 Snot linearizing 549 00:27:20,960 --> 00:27:24,800 I did this mainly because we were just getting started in 550 00:27:25,312 --> 00:27:29,408 And I didn't want to even begin to dip my toe into colour space 551 00:27:29,664 --> 00:27:33,248 Because of its complexity and how obstructed is I wanted us to 552 00:27:33,504 --> 00:27:39,648 Compositing and if we would have had it in Alexa the three like see we would have had a play with our colour because srg 553 00:27:39,904 --> 00:27:42,464 You were colour space doesn't show the highlights very well 554 00:27:42,976 --> 00:27:45,280 There are a lot of reasons that I didn't want to use 555 00:27:45,536 --> 00:27:46,816 Since we were just getting 556 00:27:47,584 --> 00:27:49,888 And since we were really effect 557 00:27:50,144 --> 00:27:52,704 Colour and brightness to match in the image 558 00:27:52,960 --> 00:27:55,264 I felt that it was OK to cheat 559 00:27:55,520 --> 00:27:58,592 Well if we were starting that shot now with the knowledge we have 560 00:27:58,848 --> 00:28:01,152 We would have read it in as Alexa 561 00:28:01,664 --> 00:28:07,552 Most likely in aces and then beauty with aces srgb or cases rec709 562 00:28:08,320 --> 00:28:09,600 And now that I have that 563 00:28:09,856 --> 00:28:11,648 Half of my chest I just want to recap 564 00:28:11,904 --> 00:28:14,720 Why we use colour space and that was a lot of information 565 00:28:15,232 --> 00:28:17,536 I think this is the hardest 566 00:28:18,048 --> 00:28:18,560 Concept 567 00:28:18,816 --> 00:28:19,328 Under 568 00:28:20,864 --> 00:28:21,888 And it is 569 00:28:22,912 --> 00:28:26,240 Because it will bring or object into the real world in terms 570 00:28:26,752 --> 00:28:31,360 And it's going to unify Oliver elements and how they react 571 00:28:31,616 --> 00:28:32,128 The changes 572 00:28:34,176 --> 00:28:36,224 You know you've messed up your colour space 573 00:28:36,480 --> 00:28:37,760 When you increase your game 574 00:28:38,016 --> 00:28:41,088 Appoint one and then suddenly your son 575 00:28:41,344 --> 00:28:42,624 Is 20 x 2 576 00:28:43,648 --> 00:28:44,160 What is 577 00:28:44,416 --> 00:28:47,488 That may seem like an over exaggeration but I've seen it 578 00:28:48,256 --> 00:28:50,304 And it's why colour space is so 579 00:28:51,328 --> 00:28:56,448 So we're here we're happy and thank you very much for sticking with me through this very long very video 580 00:28:56,960 --> 00:28:58,240 And I'll catch you guys in and 43348

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