Search everywhere only in this topic. Advanced Search. Classic List Threaded. George L. Hello, I am seeing a slight color shift when using ffmpeg to encode to yuv based codecs like prores and v from an rgb source.
The resulting file has slightly more saturation and gamma than the original- it doesn't look way different, but there is enough of a difference to be noticed. Has anyone run across this and if so, found a way to keep the color shift negligible?
Francois Visagie. The resulting file has. Tim Nicholson In reply to this post by George L. Carl Eugen Hoyos. In reply to this post by Carl Eugen Hoyos. So it doesn't appear to be a 10bit vs 8bit issue. Chris Bouchard. However there is definitely something else going on with ffmpeg's pixel format conversions: specifically when converting to yuvp. I have noticed a very slight green tint being applied when you convert pixel formats from e.
The problem seems to get worse if you scale the video down as well as convert pixel formats, so it could be an issue in the scaler. Definitely something dodgy with the pixel format conversion to It's interesting that YouTube doesn't exhibit this problem, so their engineers have somehow got around it.
Any thoughts from experts would be very welcome!
If yes, please provide a command line together with complete, uncut console output. Bob Maple. In reply to this post by Chris Bouchard. Could I ask how you are testing this?
I am getting quite the opposite result converting a TGA codec Quicktime to ProRes or h using that colormatrix conversion, the results are very different from the original. In the end I found that the default scaler was causing the slight green tint.
Vincent Olivier. Unfortunately this is the extent of my knowledge on the subject but hopefully enough to point you towards something to investigate. Or enough to keep you busy until the experts arrive. However I'm still seeing the same color shift. As far as you know, should that change I made have worked? Otherwise, I took your advice on the colormatrix filter. So that seems to be a workable solution, at least for me. Thanks very much for the help For example -vcodec mpeg4 -qscale 2 I wonder if the reason that changing the default has no effect is that it does not work for a 10bit colourspace.
I haven't tried mpeg4 yet. I'll try that Monday and report back.For anyone who has ever experienced problems when exporting H. Have you ever exported h. Maybe your blacks have become crushed into dark grays?
When exporting episodes for my YouTube ChannelI encountered this problem, too. Originally, I heard this problem was easily solved using the Handbrake encoder because it used a different encoder than Quicktime, namely the award-winning x encoder. Yet after conducting various tests, I was able to repeatedly demonstrate that using Handbrake does not solve the brightness bug at all.
These results mean that Handbrake decides to treat gamma in the same inaccurate way that Quicktime Pro does. Therefore, it would never be able to solve my problem. Then it occurred to me, what if I bypassed Handbrake altogether? What if I used the x encoder directly with Quicktime Pro?
I remembered that x was also available as a standalone Quicktime plugin, so I did some research. At first, all I found was a stand-alone plugin fromso I grabbed it off of MacUpdate.
After a quick install process, I ran a few tests and exported a few different times, trying different settings each time. And, while the gamma problem was completely gone, I could not get any resulting movie files to play on any mobile devices. Basically, I tried every variation of advanced settings, and nothing would work. So I had to resume my research, and I soon realized that Japan is still producing truly awesome people.
Advanced Video Coding
What finally saved me was a newer plugin by a Japanese genius named Takashi Mochizuki. This plugin is still based on the award-winning x project, but it has over ten times as many fine controls on its settings page than the other x plugin. Most importantly, it corrects the problem! New download link below. After reading some of the documentation and conducting various tests, I finally refined a way to create flawless H. But before you can delve into the powerful controls of this new plugin, you have to install it and relaunch your video editor.
I prefer Final Cut Pro, but it also works with iMovie. So hang in there! This is totally worth it. Domo arigatou, Mochizuki-san! Adding this gamma tag simply and elegantly solves the problem without any unnatural color filtering or adjusting. This is an important point. Shifting the brightness or contrast during exporting in order to fix the gamma problem is a bad idea.
It may take hours depending on the speed of your machine and the length of your video. I recommend that, before you spend hours encoding your entire video, you experiment on a clip only a few seconds long to confirm that it looks the way you want it. The resulting video will not only have the same brightness as the original, but it will also play back on mobile devices like the iPhone, iPad, or iPod touch.
And there should be no significant brightness shift compared to a Mac and a Windows-based PC when playing back the same video file. Although calibrating your monitor certainly helps! I thank Takashi very much, because at the end of the day, using this plugin lets me say two words I love to say:.
Video Production Stack Exchange is a question and answer site for engineers, producers, editors, and enthusiasts spanning the fields of video, and media creation. It only takes a minute to sign up. Why does this happen? For the purpose of this question, I took the sequence of images and summarized them into these main colors being used:. First attempt at encoding the pure white becomes noticeably green : ffmpeg -i Second attempt even worse : ffmpeg -i Third attempt too bright : ffmpeg -i However, using a PNG version of the same input image works great: ffmpeg -i I am using the latest FFmpeg Windows x build Git db21 :.
Apparently FFmpeg doesn't set input color attributes correctly for BMP input probably because the file doesn't contain that metadata and the BMP decoder doesn't check for manually flagged attributes.
However, we can force it using the format filter. Sign up to join this community. The best answers are voted up and rise to the top.
Home Questions Tags Users Unanswered. Asked 3 years, 11 months ago. Active 3 years, 11 months ago. Viewed 6k times. For the purpose of this question, I took the sequence of images and summarized them into these main colors being used: First attempt at encoding the pure white becomes noticeably green : ffmpeg -i Nayuki Nayuki 1 1 silver badge 6 6 bronze badges.The intent of the H.
This was achieved with features such as a reduced-complexity integer discrete cosine transform integer DCT   variable block-size segmentation, and multi-picture inter-picture prediction.
The H. A specific decoder decodes at least one, but not necessarily all profiles. The final drafting work on the first version of the standard was completed in Mayand various extensions of its capabilities have been added in subsequent editions. A license covering most but not all patents essential to H.
The commercial use of patented H. It is thus common to refer to the standard with names such as H. Such partnership and multiple naming is not uncommon. The first draft design for that new standard was adopted in August That work included the development of two new profiles of the standard: the Multiview High Profile and the Stereo High Profile.
Throughout the development of the standard, additional messages for containing supplemental enhancement information SEI have been developed.
SEI messages can contain various types of data that indicate the timing of the video pictures or describe various properties of the coded video or how it can be used or enhanced.
SEI messages are also defined that can contain arbitrary user-defined data. SEI messages do not affect the core decoding process, but can indicate how the video is recommended to be post-processed or displayed.
Some other high-level properties of the video content are conveyed in video usability information VUIsuch as the indication of the color space for interpretation of the video content. As new color spaces have been developed, such as for high dynamic range and wide color gamut video, additional VUI identifiers have been added to indicate them.
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The standardization of the first version of H. YUV and The design work on the FRExt project was completed in Julyand the drafting work on them was completed in September Five other new profiles see version 7 below intended primarily for professional applications were then developed, adding extended-gamut color space support, defining additional aspect ratio indicators, defining two additional types of "supplemental enhancement information" post-filter hint and tone mappingand deprecating one of the prior FRExt profiles the High profile that industry feedback [ by whom?
Specified in Annex G of H. For temporal bitstream scalability i. In this case, high-level syntax and inter-prediction reference pictures in the bitstream are constructed accordingly. On the other hand, for spatial and quality bitstream scalability i. In this case, inter-layer prediction i. The Scalable Video Coding extensions were completed in November Specified in Annex H of H. An important example of this functionality is stereoscopic 3D video coding.
Two profiles were developed in the MVC work: Multiview High profile supports an arbitrary number of views, and Stereo High profile is designed specifically for two-view stereoscopic video.
The Multiview Video Coding extensions were completed in November Additional extensions were later developed that included 3D video coding with joint coding of depth maps and texture termed 3D-AVCmulti-resolution frame-compatible MFC stereoscopic and 3D-MFC coding, various additional combinations of features, and higher frame sizes and frame rates. Versions of the H. Each version represents changes relative to the next lower version that is integrated into the text.
With the use of H. For example, H. To ensure compatibility and problem-free adoption of H. AVC-Intra is an intraframe -only compression format, developed by Panasonic. XAVC is a recording format designed by Sony that uses level 5.Customers appreciate knowing where the product they've sp. AfterShip is a great app. It was easy to set up and get going. AfterShip makes it easy to customize messages to my custo.
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