lagarith lossless codec after effects download

This is a really big deal.įor the first space reduction, some early science people did some science stuff and discovered that the human eye is much more sensitive to brightness than it is to color variations. We use it because it enables significant space and bandwidth reductions without impacting perceived video quality. Then a color layer (the “UV” part) was added as a subcarrier so that the new color signal remained backward compatible with existing B&W televisions.īut television history isn’t why we continue to use YUV in online video delivery and computer graphics today.

The luma plane (the “Y” part) was the grayscale signal sent to the very first television sets. YUV has a strong history in analog television of course. However, because BT.709 is the largest color space that Shotcut supports, and BT.709 and sRGB are basically the same, we will ignore this point for now. sRGB is nowhere close to covering all the colors that the human eye can see. YUV can technically represent more colors than sRGB can. Some post-processing functions will be more complex (slower) because the data is not split by nature into luma (grayscale) and chroma (color) components. It is not backwards compatible with analog television receivers or the multitude of modern video formats based on broadcast standards.

RGB doesn’t have confusing format variations like YUV because there is only one specification (“sRGB”) and it makes no compromises when it comes to retaining full color data. Your questions are about properties of YUV video that don’t apply to RGB sources. If you’re using an RGB pipeline and you are content with how it looks, then you can safely put any of the above-mentioned lossless codecs into RGB mode like you did for Lagarith and hit the ground running. The TL DR … Yes, RGB mode is drop-dead simple compared to YUV.

Lagarith lossless codec after effects download