The color space portion can be used without legalizing values for broadcast. This is why ffmpeg has a -colorspace bt709 flag… because BT.709 is a stand-alone color space for color processing. BT.709 is both a color space definition and a broadcast standard. It is not “standards compliant” in terms of broadcast, but it is 100% standards compliant in terms of BT.709 as a color space.
Sdi input scopebox full#
But the YCbCr/RGB color conversion formulas in table 3.5 operate in full range, and these values can be written directly to a computer file and played back successfully in any competent media player. Table 4.6 only applies to the broadcast half of the color transformation pipeline. This has already been covered extensively. ITU-R BT.709 table 4.6 only defines a narrow range signal. This makes it intrinsically different than a digital waveform.įor a digital waveform, yes, it can make sense to move the graticules to represent the black and white points depending on the range.įor ITU-R BT.709 there is no full range video. IRE measures only the final result, not the path taken to get there. Limited and full are two different ways of specifying the exact same color, therefore they will have exactly the same placement on an IRE scope. They already represent the black and white points for both BT.709 and sRGB without any movement at all. Since the IRE is the same for both ranges, there’s no other sensible place to move the graticules. However, even if we were to do that, nothing changes because limited Y 235 and full Y 255 are the same white and land on the same voltage and the same IRE/percent. The only way it would make sense to move a percentage graticule is to represent the black and white points for a format that puts black somewhere other than 0% (like composite video where black is 7.5%). With IRE, the graticules are usually 0% and 100% because IRE is a percentage, not an absolute value.
For -vf waveform, moving the adjust the IRE graticules that Austin and Dan suggested would be a better idea.
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