Mixing Light Color Correction Podcast Series

Podcast: Keying On A Black Background + Chroma Subsampling Explained

September 26, 2013

We answer two questions: Solving a problem with keying and windowing the moon on a black background + explaining technical terms to co-workers.


Series

We’re back with another episode of From the Mailbag. Remember, if you have questions that you’d like to get an opinion on please use the contact form. Your questions can be aesthetic, technical or even client related. We’d love to hear from you, and your question might make future episodes of From the Mailbag.

In this episode, we have two different segments:

First up, we’ll discuss a question we got from a Mixing Light member about a problem they were having with with keying and windowing the moon on a black background.  They were particularly concerned about the quality of the key and softening of the window given that they were monitoring on very high contrast OLED monitor.

Next, we got a question for Mixing Light regular Chris about how to explain technical terms like chroma subsampling to co-workers.  We also discuss some misconceptions about Apple ProRes 422 vs LT as it pertains to DSLR workflow and color. Enjoy!

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Comments

5 thoughts on “Podcast: Keying On A Black Background + Chroma Subsampling Explained”

  1. Hey guys thanks for answering my questions I am going to play this for the guys at work because I think you guys explain it a lot better then I do. I did not realize that using the chroma subsampling went back that far(Im still learning). Thanks for the knowledge and for your time guys.

  2. That was a great discussion on my question about black levels/seeing window shapes. All of those remedies are great and of course once you said them I thought ‘dammit, that’s obvious!’ or in other terms it was ‘ah-ha’! Thanks guys.

  3. Hi Guys,

    I have a little tip on DSLR workflow that really pulled me out of a tight spot the other day.

    I was grading a 5d short and stupidly gave the client some pretty great looking but extreme grades including a pretty aggressive vintage LUT I’ve made- of course they loved that one but an hour into the grade it became obvious the image couldn’t take this grade and was literally falling apart. It’s is a really hard conversation to have with your clients that they can’t have this grade because of their camera choice.

    Fortunately there was enough budget to spend a day coming up with a solution…

    I opened up their edit and ran NeatVideo across every clip and exported them as ProRes 444 (maybe unnecessary but I have the space). Back in Resolve the new footage took the strong grade and I only had to back off on a couple of shots.

    Hopefully we’ll see Neat for Resolve soon as the new Da Vinci NR still isn’t doing for me on lower end sources.

    One final tip would be if you follow this process try to push this job onto the editor 🙂

    M.

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