Survey: Color management in video and film still has room for improvement

Datacolor hosted a free webinar series in November and December as part of the Spyder Checkr Video product launch, where top-class speakers from the film and video production industry demonstrated the Spyder Checkr Video in use with popular video editing programs. The webinar also included questions for participants to find out more about how they work.

In addition to Datacolor product expert Boris Bergmann, Marco Schreiber (colorist, cameraman and DaVinci Resolve trainer), Roland Sauer (editor-in-chief of VIDEOAKTIV), Mustafa Morad (videographer, photographer and Canon Academy trainer) and Sam Nash (photographer and videographer, UK) also took part.

These free webinars held in Germany and the UK on the software programs DaVinci Resolve, Apple Final Cut and Adobe Premiere were of interest to 625 people, divided into around 30% professionals and 70% amateur videographers.

Most use more than one camera system as part of a film project.

One question concerned the number of camera systems used in a film project. This is relevant because different camera systems are usually associated with different color characteristics, which inevitably increases the time required for color matching the footage material. If interchangeable lenses are also used, this means even more work. Surprisingly, only 25% of all respondents only use one camera system. The rest regularly use more than one system, which means that this also applies to the majority of amateur videographers.

60% perform color matching according to the pi x thumb principle

All the more interesting is the answer to the follow-up question of how the participants color-match footage material: 60% perform their color matching purely visually by eye, 12% work with look-up tables and 28% use color reference cards. It is important to bear in mind that visual matching is only ever an estimated approximation and is not a metrological process. Ultimately, the visual process can lead to the color tonality changing over the length of the final film, in which countless clips are generally used. A professionalized workflow, on the other hand, simply means comparing the complete footage material with a colour chart, then cutting the film and finally carrying out the desired colour grading.

Automatic white balance for filming is in the lead

In one of the webinars, participants were also asked how often they use automatic white balancing: 56% stated that they always do this. 39 % sometimes use automatic white balance and the remaining 6 % do not attach any importance to it. The high percentage of those who carry out automatic white balancing is undoubtedly due to the fact that the majority pursue a hobby and do not earn their living from it. A professional is highly unlikely to do this, as automatic white balancing calculates the color temperature on the basis of the available and varying image information, without the aid of reference colors based on a standard. If you rotate the camera around its own axis during automatic white balance, the image will change smoothly from a colder color tone to a warmer color tone (and vice versa).

Type of filming

When asked “How do you shoot?”, the majority answered that they would film with standard settings. Only 23%, or 14%, work with log or in RAW video mode.

This survey is not representative, but gives a tendency and thus an indication that color reference cards are still far from being an everyday tool for videographers in the hobby, but also partly in the professional sector.

Further information:

Marco Schreiber, professional videographer, cameraman, colorist and DaVinci Resolve trainer, has written two interesting blog posts for Datacolor on the subject of color matching in videography. He takes a close look at the different approaches, such as visual color matching, LUTs and the use of a color chart, and works out the areas of application, advantages and disadvantages.

Bloposts comparing color chart vs. LUT vs. Display Referred Color Grading
Part 1
Part 2

Spyder Checkr Video – Datacolor’s new color reference tool for videographers

The recently introduced Spyder Checkr Video is an innovative video color reference tool that can be used with video vectorscopes, waveform monitors and a variety of professional video editing solutions to ensure accurate video color and exposure. Spyder Checkr Video provides the ability to color match one or more cameras, lenses and sensor combinations to ensure color accuracy of the shot, optimizing and professionalizing digital post production.

In videography, different camera systems such as system cameras and action cams are often used for recording. The Spyder Checkr Video is the link here for color matching footage material from a wide variety of sources to the Rec. 709 color space. It thus creates the basis for professional digital post-processing.

Further information on the Spyder Checkr video can be found on the Datacolor website at https://www.datacolor.com/spyder/de/products/spyder-checkr-video/.

About Datacolor:

Datacolor, a global leader in color management solutions, provides software, equipment and services that ensure the color accuracy of materials, products and images. For 50 years, the world’s leading brands, manufacturers and creative professionals have relied on Datacolor’s innovative solutions to consistently achieve the right colors.

The company provides sales, service and support in more than 65 countries in Europe, America and Asia. Industries served include the textile and apparel industry, companies specializing in color and coatings, the automotive industry, plastics companies, microscopy, photography and video. Further information is available at www.datacolor.com.