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Showing results for tags 'color space'.
Hi everybody, I'm reading about color sampling and I'm getting a lil confused about the difference between RGB and YCbCr. From what I've understood they are both color spaces, but YCbCr comes handy because full bandwidth RGB signals have a lot of color redundancy and they are not economically efficient for storage and transmission. One of the things I do not undestand is when in cameras happens the passage from RGB to YCbCr. For example, if I'm shooting with a high end level camera like Alexa or Epic what is the color space? And if I have a chence to choose between the two which one should I c
Hi everybody, I'm trying to really get the difference between RGB and YCbCR. The problem is that I cannot find a consistent answer to this question. From what I know they are both signals. I know that RGB is always a 4:4:4 signal while YCbCr can be subsapled in different ways. I also know that YCbCr is originated by the RGB because this last signak is redundant so (what does ut exactly mean?). I also would like to know the difference between a 4:4:4 RGB and a 4:4:4 YCbCr, don't they both have the maximum chroma and luminance sampling possible? Thanks so much!
Supervising colorspaces in different parts of the chain. As I understand it, Digital Cinema Projections are in P3 colorspace, and TV/DVD/Web is rec.709 colorspace. Then, as for the workflow. Images are captured in colorspace X (depending on the camera/stock) In the DI, images are converted to another colorspace, lets just say ACES In the master the images are then converted into either P3 or Rec.709 depending on the format. My questions are, 1. How do we know which colorspace we are exporting to? E.g. What colorspace does H.264, ProRes422 (HQ) or ProRes4444 have? Can you recommend any