RGB Parade vs YC Waveform

I am trying to figure out what values the RGB Parade Scope displays and how to put those values to best use.
As I understand it, the YC Waveform scope (with Chroma turned off) displays luminance as an IRE value. That's a calculated value, based on human visual perception, as opposed to luma, which is a numerical value within the video signal. That explains why the YC Vectorscope display for the RGB gradients below shows the highest luminance for the green bar, less for red, and much less for blue (the Saturation and Brightness for all the bars were set to 100/100 with opacity for the bottom of the bar set to zero). Those readings make sense because our eyes perceive green as brighter than red, and significantly brighter than blue.
So, what then is being displayed in the RGB Parade scope? For the same RGB gradients, tt is shows values from 0 to 100. If that is IRE, then it does not match the YC Waveform scope. My guess is that it is the B (Brightness) value in the HSB representation of RGB values of the color channel (which matches the values I used when I created the RGB gradient). It is not the L (Lightness) value in the HSL.
If it is the B value in HSB...then the values shown are not luminance, therefore do not represent what the viewer will perceive. As a result, I think using the RGB Parade as a guide when removing a color cast or balancing luminance among the color channels, is ineffective and perhaps even counter-productive.
With that in mind, what is the best use for the RBG Parade and what is the appropriate way to use it.
Jeff Sengstack

hello,
i just found this link to what looks like a cool program to do what you guys are talking about:
synthetic aperture testgear 2.5
check it out
it has a bunch of scopes
any move advice is appreciated...
may be overkill or just the right touch to a broadcast workflow...
j

Similar Messages

CS6 BUG: Reference window and RGB Color Corrector

An interesting bug in Premiere Pro CS6.
It took me a while to work out what the common factor was, but it now seems to be the RGB Color Corrector effect.
When the current tine indicator is on a clip using this effect, the Reference window will not update.
And not only doesn't it update the data on the graph, but if you change the type of scope (Display Mode) (e.g. from RGB Parade to Vectorscope), that also doesn't change until you move the CTI to view a clip without the RGB Color Corrector effect on.
I have tested this with both Red R3D files as the source and image sequences. Same thing in both cases.
Extra info:
OS is Windows 7-64 bit

If anyone is still having trouble with this issue, here is a link to download the 6.0 version of the RGB Color Corrector plug-in. Just grabbed it from an old install, and replaced the file in the Plugins folder and it worked perfectly.
https://drive.google.com/file/d/0B9ULtCJ4GoxhTndMX0MxdGZfVmc/edit?usp=sharing

CS6 Using RGB Color Corrector effect, Reference Monitor will not update?

When the current tine indicator is on a clip using RGB Color Corrector effect, the Reference window will not update.
And not only doesn't it update the data on the graph, but if you change the type of scope (Display Mode) (e.g. from RGB Parade to Vectorscope), that also doesn't change until you move the CTI to view a clip without the RGB Color Corrector effect on.
Anybody can help me to fix this problem, it is very important to me, many thanks!!!

Take a look here: http://help.adobe.com/en_US/premierepro/cs/using/WSCB566F37-A8BA-4b43-8BD2-B6467AAE930E.ht ml
Here the appropriate quotation from the help:
Gang the Reference Monitor and Program Monitor
You can gang the Reference Monitor and the Program Monitor so that both always monitor the same frame.
Do one of the following:
In the Reference Monitor, click the Gang To Program Monitor button .
In the Reference Monitor’s panel menu, choose Gang To Program Monitor.
In the Program Monitor’s panel menu, choose Gang To Reference Monitor.
Both Monitors show the same frame. Moving the playhead in either the Reference Monitor, the Program Monitor, or the Timeline will move the playheads in the other two to the same frame.
Regards
Axel

How Do I Achieve Accurate Color in Premiere CS5?

I am running some color test with my Canon T2i. As you can see below I purchased a color card and when I hold up the card to the screen and compare the color card to my monitor the colors look slightly different.
I have played around with saturation but I was wondering if anyone knew of a resource of where I can learn how to match the color card to what I see in Premiere?
Do I fill the frame with the card and then use RGB Parade Monitor?

There are a few things going on here so I will tryand make, hopefully, helpful comments.
First off though... I am not exactly sure what your question is. from what I see you doing. Its kind of 2 questions.
One is Monitor set up and the other is Color Correction.
You appear to be trying to "match" something you shot to a Color Chart. Thats not entirely a real world CC situation. The color chart you are using is essentially a set up device prior to starting a CC. It is not really intended to match color for color. eg skin tone and color is not on any Color Chart or Color Bars.
I am also wondering if you are "over thinking" this.
At the end of the day it all about Color correcting "to your eye" ...but then you need to know that your monitor has not taken you down a path of correcting the innacurate set up in the monitor. Be aware that when you take your "work" out to different monitors, it may look different. This is a time old issue and will never go away but if you start from a properly set up monitor..and its displayed on other properly set up monitors...thats about all you can do.
Put another way: Black, Grey, White (More important than color)
You want these tones (in a grey scale) to reproduce on any and every monitor as accurately as possible.
If you ignore the monitor set up (in Component Video) for the moment ( turn it off even) you can easily set up your image to achieve this perfectly by using the WAVEFORM monitor only. Try that with a Color Bars and see where everything sits. Should be perfect and you will see the logic of bars and the pluges.
If you have a Greyscale chart...shoot it PERFECTLY EXPOSED ...then check that out with a waveform monitor. The Black , Grey and Whites should sit perfectly on the waveform.
Try a CC on the greyscale chart while watching the wavform as you adjust shdows/ highlights / mids . LUMA /GAMMA.
Shoot a pure Grey Card or make one in PPRO (Pure Grey Matte)
Check it out with the vectorscope. There should be a single point in the scope right in the middle. If it has any points outwards...that means that it is not pure grey but has color content (Chroma)
Monitors.
The better you have your monitors set up, the easier it is to get something resembling consistency obviously.
I have never used the Sofftware Hardware mentioned but use : Color Bars, Grey Card Grey Scale and a color chart combined with waveform and vectorscope to set up my monitors .
It is worth learning everything you can about using Standard Color Bars ( as produced by Premiere Pro.) Every chip and Pluge has something to tell you and to aid your monitor set up. The Pluge set up is really important and very simple to set up if you have the controls on your monitor.
These Bars are also what are used in the field to set up monitors.
The original version of On Location ( DV Rack) had excellent instructions on how to set up a monitor based on Color Bars, Pluges and the Blue Only Mode
I do not know if it is still included in the help files of On Location. I will find it later and added it into this thread.
Maybe the serious Magicians at Adobe have easier access to the original document and could post it up?
BTW: WIndows 7 has a very good Monitor Color Management and Set up Tool included ( Advanced Setting)

New Video Editing Monitor

Hi guys.
I regularly work with video editing and I'm looking for a new monitor, my budget is not very high so I need to do a good choice.
For me the most important thing is image quality, I need a monitor I can trust the colors.
I was thinking of getting a DELL monitor because I always heard good things about them.
I would really apreciate if you could help me.
Thanks in advance.
César

César_Sousa wrote:
For me the most important thing is image quality, I need a monitor I can trust the colors.
Depends on what your output will be. If you are only going to show your video on the web, then a computer monitor that you can get a good calibration on should do fine. Calibration buys you a defined working space -- a solid neutral axis, no color casts, known edges of gamut, proper contrast, etc. All monitors will vary from this to some degree, but your calibrated monitor will show you the median, which is what you want for WYSIWYG work. So the people looking at your web videos will see something pretty close to what you intended.
OTOH, if you output will be DVD / BD, or broadcast TV, few computer monitors will show you the correct working space, which for HDTV is Rec.709. If you want WYSIWYG, you'll have to have Rec.709, there's no real way around it. This will take a production monitor (or an expensive computer monitor -- a couple of the Eizos can do this, and the HP Dreamcolor if it's still in production), which is considerably more expensive than a computer monitor. Low end production monitors start around 10x your budget, largely because they are made in much smaller numbers than computer monitors, and have much higher specifications; they just cost more to make.
If you want to output for a film print, you're talking real money. It's been awhile; I don't remember what the "standard" film working space is called, and of course it will vary somewhat depending on the film stock and the film recorder being targeted. But making a film print for distribution is sort of a silly thing to do these days.
A better path would be to a DCP (digital cinema package) which requires the CIE XYZ color space. There are monitors that support this too, and way beyond most budgets, save those of post-production houses.
If you are stuck with your budget and still want to author DVDs, about the best you can do is use a decent computer monitor, use the sRGB (not Adobe RGB or any wider gamut working space), calibrate it (without calibration you've got little hope of WYSISYG), and bump your contrast up to approximate Rec.709. Then work primarily off your scopes (waveform monitor, vectorscope, RGB parade) and not primarily off what you see. Burn a DVD / BD, and iterate making corrections and burning discs until you get what you want. It's an imprecise and much slower workflow, but it's doable in a budget pinch.
EDIT: You might also want to pick up a copy of Van Hurkman's Color Correction Handbook. Does a much better job explaining what you need than I can possibly do. And it's a wonderfully accessible tour of color correction. Answers questions you haven't thought to ask yet. At least, it does for me.

Matching video sources: Panasonic DVX 100 and Canon G10

I am trying to match digital video captured on mini-DV from a Panasonic DVX100 with video captured on a Canon G10 digital camera. The G10 footage is a good quality, but looks noticably different, the clips do not blend well. Has anyone tried something like this before, or have any suggestions?

A lot can be accomplished in the 3Way to get what you want, in fact, I would advise you against using Color for this, unless you know it and unless you're looking to establish an image baseline and have Color render new media. Time should have been taken to match the DVX100 to the G10 beforehand on chart like a DSCLabs Chrome du Monde or at least with a Macbeth Color checker.
Find similar shots from each camera, place a marker at each spot. Toggle back and forth between the markers, observe your scopes (the vectorscope, waveform and RGB Parade - ignore the histogram as it's fairly worthless) as they will tell you what to do.
Manipulate away.
Don't know how to read your scopes? There's a section in the manual that quickly gives the highlights of this great skill to know.
If you get in a bind, send me a couple of .tiffs from similar shots of each camera and I'll get you started.

Advice for logical workflow for color correcting and color grading

I am an experienced user of PPRO CS5. I am a novice with color correcting and color grading. I am also just barely competant in AE CS5. It has been suggested that I use AE for color correcting my footage. Can you advise me as to the most logical workflow for doing this in coordination with PPRO CS5? Are there some tutorials that you recommend? I subscribe to Lynda.com and I think that they have some great tutorials, I am unsure as to where to begin looking and what to search for.
Thanks so much,
Lisa

lisaellensegal wrote:
I am an experienced user of PPRO CS5. I am a novice with color correcting and color grading. I am also just barely competant in AE CS5. It has been suggested that I use AE for color correcting my footage.
You can do it that way, sure. But you don't have to. You can accomplish quite a lot without leaving PPro. This has two major advantages. First, if you aren't using AE for anything else, it gets you out of using AE at all, so gets you out of climbing another set of learning curves.
Second, even if you are using AE for other things (I use AE to make motion lower thirds, for example), doing the work in PPro can improve exporting speeds. This is because AE gets restricted to a single processor core in some workflows as discussed in this thread and others (search around if you're interested). This can make exporting take 3x as long or longer, depending on how much footage has to be processed by AE.
So, how to do color correction without leaving PPro? Use either a luma corrector or luma curve effect to set black and white points, and contrast (use a waveform monitor to help). Then use a three way color corrector effect to get rid of any residual color casts (use the vectorscope to help, and the RGB parade, etc.).
If you find you have specific colors that need to be fixed, you can apply another three way color correction effect and use it to make that secondary color correction (for example I find the blue dyes used in many labels tend to fluoresce under fluorescent lighting, and has to be desaturated with a secondary color correction or it "blooms" on an HDTV -- IOW, it has to be made "broadcast safe").
If you want tutorials for using these tools, the ones on Creative Cow by Andrew Devis are quite good, and free. The ones on color correction with PPro cs6 start at tutorial number 47. There's a bunch of them. All good.
Finally, get a copy of Van Hurkman's Color Correction Handbook. May be the best technical book I've ever read, and it'll certainly point you in the right direction for doing color correction work regardless of which tools you use to do it.

DVD is dark: do I need to grade in PP before going to Encore? How?

Excuse me if this is an obvious question. Searches didn't show up anything, and I could not find an FAQ for this Forum. The Encore docs seem to say nothing about this.
I'm trying to make a DVD from source material originating with a Canon XF-300 and Vixia cameras. The material looks ok in PP CS6, and as rendered as an MP4 file, with flesh tones at about 70 IRE. As is common, the performance stage is not exceptionally well lit, so is on the dark side, but shadow detail is still there.
I generate my DVD by importing the PP sequences into Encore. It appears too dark on my LCD TV which I am testing on. Blacks are crushed.
I thought that this seems like an RGB to Rec709 issue. I tried adding a levels adjustment layer in PP, setting ouput black to 16 and white to 235. (My DVD player could play the PP-exported .m4v on a USB stick.) That's an improvement, even if it's not exceptional.
I've read a lot on the web and watched some videos, but not seen anything about this.
Must I grade for a DVD outputin PP before staring Encore? If that is required, why is it not mentioned anywhere in the docs?
If I need to do a pre-Encore adjustment, what is the best way? Do I need to worry about gamma too? (I understand that sRGB and Rec709 are close.)
Or something else?
I'm very used to working with color profiles in still photography, having used Photoshop for years and printed fine art photos. I'm using a calibrated monitor (but I understand PP does not use monitor profiles?) The profile complexity in video drives me nuts. The more I read, the less certain I am.
Thanks for any pointers to web resources I should follow, and for setting me in the right direction!
Brett

Brett Delmage wrote:
I'm very used to working with color profiles in still photography, having used Photoshop for years and printed fine art photos. I'm using a calibrated monitor (but I understand PP does not use monitor profiles?) The profile complexity in video drives me nuts. The more I read, the less certain I am.
Video is not stills. Two completely different things. Like trying to compare playing trumpet and clarinet. The only thing you can carry from one to the other is your ability to read sheet music. Or in this case, your ability to read light. None of the rest translates well.
First, unless you preview your work on a calibrated production monitor (one that can show you what your vid. looks like in the Rec.709 space) then you are working blind. There are other good reasons to use a production monitor instead of a computer monitor. One is a waveform monitor, which will likely help you a great deal (you can even use the one in PPro, which will help but you won't be able to see exactly what's going on, because it won't work while you are playing the video in PPro, and because you won't see the exact colors, black and white points, and contrast that you should). Another is a vector scope. Another is an RGB parade. All highly useful tools in color correction and color grading, and all the more useful if you can watch them while the video plays.
Second, as Mr. Jones suggests, do not send an MP4 to Encore for a DVD. Send only MPEG2-DVD for making DVDs. What you've done is like recompressing a JPEG in still photography. Some would say it's worse in video, IDK.
Third, get yourself a copy of Van Hurkman's The Color Correction Handbook. Read it. Learn it. Use it. It will make this part of your life so much better.

Premiere Pro CS5.5 -very strange issue with the color tones and Preview-

I deal with a very strange and not usual problem in Premiere Pro CS5.5 (also the version CS5). What I try to do is just a simple color correction. The problem occurs when I try to use Three Way Color Corrector but it happens with Fast Color Corrector also.
When applying the Three-Way Color Correction and without changing anything else (just applying), can be seen in the preview of the soft how sudden changes in color tones. For example, the gray tone becomes a little more green, but also can be seen very easy a change in the other color tones too. In fact even RGB Parade show the same thing. This is very, very strange and unacceptable and saw that it happens when trying to use Colorista II too.
I tried the same thing in Sony Vegas Pro 11 and I downloaded the trial version of Edius 6 to convince me if the same thing happens. Not! In Sony Vegas and Edius everything is working correctly, I have not experienced these problems in the preview's of this 2 others softs.
This issue is very annoying because every possible color correction is based on what we see in the preview and if in this preview the tones are seen altered realize that can not make a decent color correction. So what happens here?!? I uploaded a small video demonstration to see very clearly about what I'm talking. You can see in the next link: http://vimeo.com/35317616

Yes Jim, you're right. No changes in the scopes when one just apply RGB Curves, Fast Color Corrector, RGB Color Corrector or the Three way Color Corrector (last three thanks to the new update 6.03). I already wrote that Adobe team has been able to fix this bug for some of the tools/effects.
But Brightness&Contrast? Change Color? Color Balance? Levels? MBLooks? Twixtor? Colorista II? Does it seem normally that all scopes or just one of them jump when you just apply one of these effects/tools? Not to say that in some situations even the tones change (especially in shadows&midtones).
You say this is something "very minimal". I say it is not so. I don't find normally to make a very detalied CC with Three way Color Corrector and then when applying Colorista/MBLooks, for example, the scopes jump and inclusively some tones may be influenced. And I left clear examples in this topic where you can see that this is possible. I don't know if this is "very minimal" or not, but is really so impossible to edit in Premiere without this "very minimal" issue?!? How can it be possible in other softs (Edius, Media Composer, Vegas Pro) and in Premiere not?!?
One more thing: many of us use intermediate codecs in the editing process. Do you find normally that a AVCHD video have the lumninance at approximately 110IRE, to export it directly to Cineform and then import it in Premiere, and the waveform shows the luminance at 100IRE?!? How is this possible?!? So the AVCHD video have a 110IRE luminance, you convert this video to Cineform without changing anything, and then this Cineform video have the luminance at 100IRE?!? And anyone can verify this example.
So, how can one trust in this soft?!?

Can't preview any color movement at all

Hi I've just started up my Apple Color today and realised that my animated color waveforms(RGB parade, histogram,etc..) are not displaying anymore.
I also checked my settings that both my primary and secondary displays are enabled.
Would appreciate any form of advice on this problem. Thanks!
Here are the some screenshots of my monitor.
Left Monitor Display
Right Monitor Display

Hi I am able to adjust all the curves in the Primary In room and see the changes on the Preview Window. It is just the parade display portion that doesn't seem to have any movement.

Color desaturation in final burn.

Just so everyone knows I did in fact read the other thread about this topic ( http://discussions.apple.com/thread.jspa?messageID=1569304&#1569304 ), but there didn't seem to be any valuable info on how to resolve this problem (short of spending $800 on a video proc amp to adjust black levels that aren't a problem for me anyway).
My problem is that I have a properly calibrated studio monitor that I use with FCP to color correct (calibrated with color bars from FCP), so I fail to understand why if I use my computer's LCD as well as an external CRT monitor to compare and contrast color balance and I export a full res QuickTime to make sure I'm not losing anything in the export while also seeing the material look great in the viewer window of DVD SP, why the final result looks to far off?
I too upgraded to DVD Studio Pro 4 recently with a clean install (my computer's drive crashed so, I re-installed the whole Studio package clean). I don't recall ever having this issue with SP 3 before. Is there something I need to calibrate in my system? Is it really just a matter of a lousy A/D conversion?

You may want to take a look again at the second page of the article, it sounds like that maybe what is happening with you MiniDV Setup (putting out IRE 0 ) so it looks darker than what is actually going on
http://www.signvideo.com/dv-black-level-dvd-7.5-ire-0-ntsc-part-2.htm
If I can't use a professional monitor to do color correction, how does anyone get the results they want?
Many get cards (like the Aurora's) in towers which do conversion to 7.5 IRE for color correction. Are you you using FCP's scopes to see what is going on? Actually pretty easy to start getting into the ballpark with just setting Contrast in Waveform and RGB Parade. Check to see where your Blacks and Whites are, and use 3 Way Color Corrector (you can see if not enough blacks or whites blown out) and that often helps alot in making things appear less washed out.
There is a book by Alexis Van Hurkman, Advanced Color Correction and Effects in Final Cut Pro 5 that I really liked. A couple of small sections alone makes it worthwhile even if you do not read any other part of the book. (At least it worked for me that way) In about an hour the descriptions on set up and contrast adjustments went a real long way. Not that I recommend doing it this way, but it was so clear that I can just look at scopes on a Powerbook now and start getting the results "in the ballpark".
Also remember each TV will make things look different, took me a long time to accept it

Speedgrade: protune to 709.cube limit range of files

Forgive me I don't know a whole lot about color correction or speed grade as a whole so it will be difficult for me to communicate what I am having an issue with. I recently recorded multiple clips with a GoPro in 4K. I put all the clips on the same time one in premiere Pro and exported them to speed grade.
for some of the clips when I apply a look up table such as pro tune to 709.cube it works fine.
however on others when I apply the same look up table it limits the amount I am able to adjust the clip. For example on the RGB parade it only goes to maximum of 70 on one clip and 50 on another.
then on some of the other clips it allows me to do a full range of adjustments and it goes all the way to 100. All these clips recorded the same way and with the same settings so I don't know what the difference would be. I've done nothing but import them and then send them to speedgrade.
I cannot figure this out if anybody can please help me I would greatly appreciate it I don't even know the correct terms to search for Google.

In order to get there and NOW I've started doing a couple things that aren't 'typical' procedure especially when in run & gun mode. Such as put an Expodisc in front of the lens and film a couple seconds while having it pointed sort-of towards the light falling on the area to be shot at least a few times during an event. Yes, I will completely balance to that to start with and if I've got the time may do so later during the event also. But I will just hold it in front of the lens for a second or two (again, quick pointing semi-towards lightsources) every so often, and with that set for middle value on the camera I can then get a pretty decent neutral grade very fast in post.
On loading the items onto my timeline, I'll put things together as they fit ... but before sending over to Sg to grade, with the PrPro bin set for name sort (I don't tend to rename footage) I'll maybe insert a couple of the short gray sections in their appropriate spots in the sequence, use them in Sg to get a quick neutral grade and copy that to the following clips, then color/style those clips. Back in PrPro I'll delete the gray sections. Takes a few seconds to add them, a few seconds to delete them, and saves a LOT of seconds getting to neutral. (Note ... testing your camera by doing a couple seconds at "normal" exposure, then a couple seconds each 2 or three stops under/over isn't a bad idea. If the gray of your shadows always goes a hint of green, but your upper tones go a bit cyan from the middle tones, then you know something to correct or build a Look for that camera.)
The two biggest things I learned to start with grading: 1) TRUST YOUR SCOPES NOT YOUR EYES! and 2) don't confuse neutralization and final coloring!
Waveform gives you a great look at your tonality ... use it to set your bottom & top values. Parade is great for neutralization especially combined with Vectorscope ... watch the three colors in the Parade, and look to the center of the vectorscope ... if there's any significant area that is totally gray/white/black it should align with the center of that scope ... color saturation is higher to the edges, less towards the middle ... and NO color at dead center. If you've got some decent total neutrals no matter light or dark, but nothing centered on the vectorscope, well .. you adjust until that is centered. If you've got a lot of skin, there's a line that runs from the center up to the upper left oft called the "skin" line ... which it isn't but is for all practical purposes. Sometimes I'll put a hard mask on a clip so I'm only seeing someone's face and check that the color stays pretty close to that line.
Getting a good neutral gets you started ... but rarely is it pretty. But without neutral, it's DAMN hard to get to pretty. Go for neutral, then start trusting your eyes to go for pretty.
Neil

Range check affects scopes

I have noticed that if I have some scopes up (mainly RGB Parade and Waveform monitor) and turn on range checking, it changes the output on the scopes. So what is the most accurate way of using the scopes - with range checking on or off? And why does it change them in the first place?

Changing the different range check options does not affect the scopes, rather it seems to be a range check on or off difference. I was thinking the stripes from the check may be affecting the scopes, but there is absolutely no motion on the scopes when the stripes are moving. Give it a shot - load up a clip of any video, load up the scopes (try the luminance layout) and turn the range checking on and off. I can reproduce this on all the FCP machines I have tried (ver 5.1.2), so chances are it will do it for you too. It almost makes the scopes bold, and it changes the whites and black levels enough to make the scope unusable without knowing which way is correct. As a side note, the first link you posted at larryjordan.biz seems to now be incorrect. I took his test jpeg and my scopes still showed the levels of the boxes outside of the title safe zone.

PROBLEMS WITH CS5.5.1

Hi
I am busy with a HD project shot on a Sony EX1R HQ 1080 50I and when I try trim a clip on the time line (drag shorter or extend a few times) the machine hangs and I must restart Pr to carry on working.
980X OC to 4.0
24 gig ram 1600
600 gig 10 000 rpm OS
7 x 1tb F3 raid 0 on a Intel RS2BL080 controller
GTX 480
Win 7 64 ultimate
Black Magic Ultra studio Pro USB3
I re installed CS5.5 and all is OK but as soon as I udate to 5.5.1 I have the same problems. I also have problems with the Referance monitor set to Vect/YC Wave/RGB Parade, when I make changes using RGB curves or fast colour corrector the REF monitors do not update.
I did try an Adobe preset and have the same problems.
any suggestions?
Thanks
Darren

Actually, Darren, I frequently have the non-updating reference monitor displays with CS5.5 and a Quadro FX3800 (when editing with BM Intensity presets).
I also find that the YC waveform often displays the curves for the SMPTE bars, even though there are non in the timeline. I clear it (and the general non-updating issues) by cutting the clip and re-pasting in the same position.
Very annoying - especially when carrying out CC work.

--Flat/Slightly Desaturated Export

Hi,
I'm using Final Cut Pro 6.
After I export a reference movie of my edit (1080/24p ProRes 422) and bring that into Compressor for an H.264 .mov (5000mb/s) export, my video is a little flat, desaturated, washed out a bit.
Even the self-contained movie looks different than what I'm seeing inside FCP 6. In the Canvas, the video looks more saturated and crisp.
Is this normal? And if so, I guess the only workaound would be to overestimate your Color Correction so it balances out when you export?
Thank you.

This should not happen. If the video is less saturated, it should show a shift in the vectorscope reading between the two clips.
I would recommend testing this by downloading the free trail version of Veescope Live. Create a color bars test video in FCP 6 and export that to a ProRes Quicktime movie. Convert the ProRes to H.264 in Compressor. In Veescope Live click on the Quicktime inputs option and drag the ProRes file and the Quicktime file into the list box. Click on the multi-scope option under scopes to display the Vector, Waveform, and RGB parade scopes. Click back on the "inputs" tab and switch back and forth between the H.264 and the ProRes version of the video. Look to see if the vectorscope changes dramatically.

RGB Parade vs YC Waveform

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