Photoshop color is STILL broken!

Photoshop's LAB color is amazing, but its positive effects should also be available in RGB color!
Minute physics video from 5 years ago: • Computer Color is Broken
My "How the hell does color correction work?! video: • How the hell does colo...
The image I used for this video, in case you want to play around with it: www.shuttersto... (yes, it's a shutterstock jpeg, we work with those all the time)
CORRECTION: Sometimes I say "luminosity," but I'm pretty sure I should have been saying "lightness."

[@1337Unlucky]

At least someone is doing something productive in his quarantine.

[@SlyNine]

Looking at porn isn't "productive"???

[@playalle1]

@@SlyNine Productive.. maybe. Reproductive.. not at all.

[@cynthialopez6230]

7tñpm

[@sinom]

Talking about weird colour stuff. I recently learned that the colour picking tool in chrome doesn't actually show the hex value of the colour the uploader intended, but instead the colour after the colour profile is applied.

[@TaranVH]

worse still, Premiere's Ultra Key color picker does the same thing. Meaning it works horribly until you turn off color calibration.

[@liaminwales]

chrome is not color managed, idk if i can post a link but this may help hub.displaycal.net/forums/topic/seems-chrome-has-implemented-color-management-has-anyone-done-some-comparisons/

[@MichaelKire]

Wait what? omg

[@vikmanphotography7984]

@@TaranVH hence part of why studio monitors have their own hardware calibration and don't rely on the PC's software.

[@MrDavibu]

To make a even bigger mindfuck, pretty much all browser encode sRGB PNGs wrong. See www.realtimerendering.com/blog/a-png-puzzle/

[@alexblack6415]

Bit niche, but in computer vision stuff LAB tends to be more accurate to real-life scenarios; the representation makes better sense when having to detect objects. Just another place LAB is amazing.

[@mathnerd314159265]

@DeadLink 404 nah, you just need Jzazbz! Best general-purpose color space available, unless you're a color scientist

[@jeyemGFX]

You can also check out HSI, especially if you need to punch out a certain color or find out regions of similar color, this will help you enormously.

[@MysteryPancake]

Keep in mind the Black & White effect in Premiere Pro does not work exactly as expected. It does not desaturate the image in RGB space (averaging the channels). Instead it seems to mimic the LAB color space while acting in RGB space. It has a list of controls which can be seen in After Effects, which apply arbitrary weights to different color ranges, acting similarly but not exactly the same as LAB.

[@MoeZarella]

it probably uses the luminance eqn (0,299r + 0,587g + 0,114b) to calculate the brightness/luminance (duh), which IS how one would expect it to work; averaging the RGB channels does not work because green is perceived lighter than blue (mirrored by the larger weight for g in the formula above)

[@635574]

@@MoeZarella thats what I expect, perceptual weighing instead of the mspain integer naive crap

[@gamboodle]

I just enabled the gamma option a little bit ago, then this video appears in my inbox and solved a problem I hadn't even reached yet!

[@Chain83]

Yeah, that setting is terrible. It's for Photoshop itself, and isn't per document. Keep it off and Photoshop will honor the gamma of your image. If you want linear gamma for your image, convert to a color profile with linear gamma. Problem solved properly, and no need for Lab.

[@SwitchAndLever]

For them to change this in Photoshop they'd have to break compatibility basically, otherwise any old files you open with adjustment layers (or heck, anything with transparency) would likely look a fair bit different than what it did back when the file was created in a previous version. A way around this could be like what they did with brightness/contrast and include a toggle to "use legacy" or not, essentially shipping the tool with two ways on how to compute things.

[@GabrielMisfire]

I'm about 33.3% sure that they could also program an automatic sort of conversion to have old adjustment layers give equal results while switching to the new framework, as an option

[@demp11]

The, could do it that just new projects automatically start in Lab colour space and old project open in the old one.

[@alanaktion]

I seriously love this channel. The weird combination of shitposts and genuinely informative videos like this is amazing. Taran, you're awesome.

[@Saturn2888]

This video details how specialized someone can be in something like Photoshop and Premier tooling. You knew what was wrong, how to test and verify, how to color correct to achieve similar results, and how to setup a workflow in the future. This is the kind of high-level stuff I do in code, but now I'm seeing it applied to a completely different skillset. This is also your first video I've seen. Definitely a good start :).

[@PavelShevchuk]

If Adobe took a page from a LAB book, they'd ruin the book just like everything else they ever touched

[@agiverreviga4592]

In Photoshop you can just set the Hue/Saturation's blend mode to Hue or Color and it will be the same as working in LAB.

[@gurratell7326]

Yeah I thought this was basic knowledge for photoshopoers, especially the one with popular KZbin channels.

[@battousai9795]

lol I can't believe I had to scroll this far to find this comment

[@Chain83]

You're right (technically it's not *the same* but close enough that it doesn't matter for normal image editing). Blending modes are basic image editing knowledge so I'm disappointed at this video. Also, when you get banding, the solution is to work at a higher bit depth. Again, super basic knowledge... The last issue regarding the dark band when blending saturated green and red using gamma 2.2 can be solved by blending using gamma 1.0. The proper way to do this is to go to "Edit > Convert to Profile" and convert to a color profile that is gamma 1.0 instead of 2.2... That way you can stay in RGB.

[@AlexIsiv]

you are getting it wrong, he is talking about the hue and saturation parameter is not working as it is supposed to (see premiere reference), changing it's blending mode implies an alteration to the filter and no longer applies to this video.

[@noisenoise9600]

@@AlexIsiv Thank fuck someone gets it. You absolute geniuses, that was not his point jesus christ. Your solution is a "solution", but it's not a fix to the root of the problem that he's trying to adress. Seriously pay some attention to the video next time.

[@timseguine2]

You discovered the correct option. The problem is that Minute Physics was only partially right. The gamma option only fixes the linearity of the color space, but that is not the only issue. Linear RGB has additional problems with inconsistent lightness between hues. Your blending is fixed in Lab mode because Lab is a perceptually correct color space. In Lab mode it also uses a perceptually correct blending formula, which is not just averaging colors like the Minute Physics video implies. Technically the way photoshop does blending in RGB is just plain broken. They should just give an option for perceptually correct blending without making you switch the color space. Additionally, I think some of the problems you were having with hue rotations is because the Lab color polyhedron is not well suited for artistic work. Check out www.hsluv.org/ which attempts to address this problem(Can't say how successful they were)

[@GCAGATGAGTTAGCAAGA]

HSLuv looks really awesome. As an artist I can tell that you need to spend a lot of time just learning how color shifts in spectrum depending on brightness. It always surprises me, how we have not teach computers to do it for us. Especially slight changes, that hard to pick but "by hand" but which can make your work more "alive" and less "muddy". Unfortunately hsluv plugin for P$ still have not been invented yet :(

[@AnaseSkyrider]

I'm struggling to understand that website. When I look at the color spectrums, especially near the extremes of the lightness scale, different colors appear to have way different luminosities.

[@timseguine2]

​@@AnaseSkyrider I see what you are talking about, but I am under the impression that in my case at least this is an artefact of my monitor's poor color accuracy(saturated reds and blues look too bright). The color mixer on the website ostensibly uses the CIE L* coordinate which should imply constant apparent lightness over the other parameters on a correctly calibrated monitor. Assuming we trust CIE, *shrugs*. These kinds of things are after all a trade-off for the "average" human.

[@colelepper9381]

woohoo, more Taran ranting about colour!

[@Michael-OBrien]

You've made a lot of progress over the past year. It looks like you still have some questions, but I think you'er begining to understand that the math driving all of this is derived from observing what the human vision system observes and then adjusting it to taste. Yeah, not synesthesia, but the fact that there is a whole lot of crossover between what is prefered by the artist and what is actually correct. I'm glad to see you learned about Lab color and I'm sure you've seen the blurb that it mimics human perception. In Photoshop CS6 they started expanding our the support for Lab in PS making it open to utilization with various filters. It's an excellent model. You've dug pretty deep and have been able to get community help for quickly adjusting your own learning curve and accelerating it. You've seen where video != still color science and that there is significant conceptual differences and similarities that help tell the whole story. I'm going to toss two more things your way that might help you understand this field a little more thoroughly. 1) Ted Talk on optical illusions. Pay closer attention to the dots on white vs black: kzbin.info/www/bejne/o5eYoKd9g8eeq8U 2) I assume you have a stills camera that can shoot in RAW? Go download RawTherapee (rawtherapee.com/) and dive into adjustments there. 2b) By extension, their Color Toning tool under the color tab (rawpedia.rawtherapee.com/Color_Toning) 2c) How those controls were influenced by cinematography (blender.stackexchange.com/questions/55231/what-is-the-the-asc-cdl-node/55239#55239) I do stills photography. Playing with RawTherapee a bit more recently instead of using Lightroom. It's an extremely potent tool. I'm red-green color deficient/blind. Anomalous trichromat, not a full on dichromat or the commonly interpreted monochromat. Because I don't see color properly I know I cannot trust my own vision so I have approached the topic from the sciences end to trace their origin, the fundamentals, and figure out what the industry professions have tried to define as what is correct. It's a glorious mess as you've learned over the past year.

[@TrendyWhistle]

Did you switch your memory settings from “performance” to “memory” in premiere? The color process is wildly different in both modes. I believe premiere is using luminance and chrominance from broadcast specs, which is more similar to LAB than RGB. It is a much older format than LAB color space. Above all, the black and white filter in lumetri and photoshop both don’t use the same lightness values for each hue, so it can all be arbitrarily adjusted, switching to black and white via the effect to test it is not a reliable test.

[@TaranVH]

whaaaaat? the memory settings can affect color??? I will have to mess with that. thanks for letting me know!

[@ahmettay2382]

holy fuck my entire premiere pro knowledge just got reset

[@rickstevens1167]

@@TaranVH is there a video? :D I'm sorry... Never used any of these products but I get such an XKCD vibe from this level of obsession. Major feels xD

[@notthere83]

Funny thing is that I'm pretty sure I was taught at university about Photoshop and Lab mode about 15 years ago already. Which gives the "STILL broken" a whole other dimension.

[@ckohen]

To answer your implied question about JPEG 2000, someone else mentioned the benefits earlier. It is very rarely used in anything but one specific package: digital cinema packages (dcp). All digital movies played in the cinema are actually, just like their film counterparts, stored as a series of photos (not like film) in JPEG 2000. This is specified in the dci 2k and dci 4k specifications, so if you think cinema color and picture quality is good, you know what it is now. Edit: You know what the container is capable of...

[@brunof1996]

also RAW files on the RED cameras are compresed with JPEG2000 and the photos on Canon DSRL cameras are compresed with a lossless version of JPEG2000.

[@tophan5146]

bruno fernandez there is a lossless version?

[@meowchin]

JPEG2000 is just a "container", it is not the reason why DCP looks good. DCP looks good because of low compression, high bit depth, and wide color space (much wider than other common color spaces/gamuts, because XYZ color space covers all colors perceivable by humans). Also processing in cinema projectors is most likely better than in consumer TVs, and they are all calibrated.

[@rkan2]

@@meowchin Even Cinema projectors however, have shit contrast ratios to any even just a little bit better TV, especially when it comes to OLED.

[@ckohen]

@@meowchin That's why i mentioned that in my edit...But also, we're mostly talking about color here, and from a capability standpoint, normal JPEG's can't store all that information you're talking about. I work with cinema projectors sometimes, and happen to know that the processing chain is completely different than your tv, especially when dealing with laser, and when paired with proper color calibration of the projector (i'm not sure if big multiplexes do this anymore, color seems a little off these days) its night and day. However, like rkan2 mentioned, standard cinema projectors have tiny contrast ratio at 2000:1 because that is what the film is mastered in. The only exception to these is laser, which will be 5000:1 (dolby) or 7000:1 (imax), however, the film is still mastered in 2000:1. If you go to an actual dolby vision movie, then it is mastered in 1,000,000:1 on the same exact projector setup as you are watching it on, being displayed at the same 1,000,000:1 in the theater. An aside: standard cinema screen gamma and color is terrible because the screen is definitely gray. Dolby uses a silver screen which means more banding when combined with the 5000:1 displaying a 2000:1 master....you get that due to the extra stops that aren't being utilized, something you would never see on a 2000:1 projector.

[@NavJack27gaming]

You're getting on the right track dude. LAB is kind of closer to how a final video project for the internet will end up. You're going from whatever your source colorspace to sRGB to LAB to rec709 420. Not to mention whatever the internal processing conversion is that Adobe uses (or whatever other software touched the source). Just make sure all your intermediate formats don't chroma subsample or compress the content and things should work better. Cineform compresses lossy. You mentioned jpeg2000 and that is a good industry standard in lossless mode and supports LAB but you don't need to keep it in LAB when you save. You are just transforming colors over and over by changing from sRGB to LAB and back and again. Just open your source and edit and convert to LAB with dither enabled, don't change the mode, do your edits that need LAB accuracy, convert to sRGB and save or do any extra edits that work only in that space and then save as a jpx or dpx file for Premiere.

[@BillyEilish]

Lol, Taran never stops surprising me. Awesome find, thanks for sharing!

[@pietroalessandrini]

I love that I finally found someone as fixated with color as me

[@aarocka11]

Why does your audio sound like it was compressed with real player 1999

[@KrishnaDasLessons]

aarocka11 I think he is still using nVidia Shadowplay for recording his videos, (even though he has OBS Studio), Shadowplay's audio compression is absolute garbage and you should just use Audacity.

[@SeiberGraff]

finally someone mentioning and praising my favorite Color Mode

[@ptomalak]

I was hoping this was another hour long video

[@stefankorman4956]

That taskbar though. There is more icons there than the amount of shit Linus dropped. Impressive.

[@Rattacko]

But yet he still uses the windows search bar. You don’t even need the search bar you can just click the windows icon or press the windows key and start typing

[@Rattacko]

Anyway, that’s just an idea I have for increasing space in the taskbar. I never really thought that you could seperate same windows of an app to multiple taskbar icons - I might actually implement that into my workflow.

[@Rattacko]

Update: I tried it. It kinda screws up your muscle memory since the icon positions change all the time but it’s totally worth it if you do any form of multitasking. Apologies for the comment spam; it’s hard to edit comments on an iPad

[@TaranVH]

@@Rattacko I don't really click on them with the mouse though. It's all done with macros, which go to the last opened one. I have them separate for those times that I do need to have 3 or 4 all next to each other.

[@stefankorman4956]

Taran Van Hemert I wish I was so efficient. But knowing me, I will never use the macros even if I know them by heart.

[@inthefade]

After using photoshop for 20 years you just BLEW MY MIND.

[@thirun779]

HSL is so so easy to use and very intuitive when picking colors.

[@aul0s]

As a painter I have a decent internal understanding of color as it’s encountered off the screen in life’s environments. I also have always though of myself as very tech/computer capable for someone who’s not a full time computer scientist or hardware engineer. Most my work these days is various digital projects. Yet for the life, I cannot feel that I have a good grasp on the arcanery of computer color reproduction and standards. This is one time I feel like I could really beenefit from a course.

[@cevxj]

No one has a grasp on color. But if you are seeking to have more freedom and accuracy Lab or HCL is the way to go.

[@Jacob_Mango]

Tl;dw: lab colour space is great, use it when possible

[@Jacob_Mango]

And premiere doesn't support it

[@TaranVH]

@@Jacob_Mango Yeah but Premiere doesn't need to. They do proper color math. Maybe it uses LAB behind the scenes, but IDK and I don't need to. I just want pretty colors and it does deliver them.

[@ripster7]

I wonder if blender does 🤔

[@liaminwales]

@@Jacob_Mango XD

[@lboijens2173]

@@AliasA1 while you're mostly right, do keep in mind that blender has to do some kind of color mixing when calculating light ray impacts while rendering and that the standard settings for this are actually surprisingly inaccurate. Blender guru made a pretty good video about it called "The secret to photorealism".

[@musicismypseudonym]

i have no clue why i keep watching this videos. i will never ever need some of this knowledge, but somehow i'm still fascinated and enjoy it. weird stuff.

[@shijo_t]

I didn’t know this was something I’d want to know but oh my it’s so clean

[@Rattacko]

Thank you Taran for this video! I found it to be very informative. I think anyone who uses photoshop or does colour correction should watch your colour videos. Keep it up!

[@YetAnotherAaron]

When are you Publishing your dissertation?

[@friendofships]

ha, I actually have read a PhD dissertation on why Photoshop color is broken, I will have to forward it onto Taran!

[@pyk_]

Jpeg 2000 is an updated version of Jpeg that I believe uses a vastly superior compression method. Really the only reason we don't use it is that Jpeg is "good enough" and nobody bothers supporting 2000. Every time I see visible Jpeg artifacts I cry a little bit. I think it also supported some other neat features that I don't remember.

[@fourpanelszerowords476]

Premiere fast colour is likely to just be twiddling YCbCr channels since that is how most videos format use.

[@conspiracydawg]

LTT: clickbait. Taran: Good Content.

[@Nederlance]

Oh my god he is back i love it

[@user-or9gr5py4c]

in general the LAB color space is far superior to RGB and is widely used in the digital image processing and I'm actually using it in my thesis when I am trying to calculate the super pixels in an image it is used by several digital image processing algorithms specifically detecting salient objects in addition the lab color space theoretically has no limitation as components are actually double numbers not integers and they can range from minus infinity to infinity except for the L component which stands for luminance that ranges from 0 to 100

[@m13253]

LAB is designed to simulate human eyes - the lightness and hue are very close to human perception. Human perception is different from physical world: Mixing black and white 1:1 in physical world, you get 50% gray (#bcbcbc). But mixing them in your brain, you get 18% gray (#777777). That’s why photographers use 18% gray to calibrate their cameras. However, mixing them in sRGB you get 22% gray (#808080), which is incorrect in any perspective. Premiere works in LUV mode, which uses simpler math than LAB, thus less accurate than LAB. LUV is simple mainly because it needs to be designed as circuits in every color TV. I believe Premiere’s Black&White filter uses LUV. Only LAB reflects human perception, anything other than LAB is inaccurate.

[@cevxj]

Star Brilliant HCL is more “accurate”. True accuracy hinders practical use of color.

[@mercuriete]

LAB is a good color space to understand why the human have more sensitivity to brightness than color. Try to do gaussian blur to Channel A and Channel B and let L whitout change. You barery notice any change, but the information in color is almost gone. You can try with several radius for the gaussian filter and you will be amazed how little information of color we need.

[@truthpurpose]

You just changed my whole life.

[@Silencer1337]

+1 for bringing more awareness to the importance of the math behind color transformations.

[@ImProvementSC2]

This is amazing! Lab color looks so much better

[@mariotriforce]

Half the reason why Davinchi Resolve is the industry standard coulor gradeing tool is because it has the ability for coulor managment where's premier is locked to rec 709(it also has access to LAB coulor space )+ LAB is ment to mimick real life which is why the gradients look so much smoother the gradeing in blade runner 2049 wouldn't have been possible with out LAB, hope this info is helpful man:)

[@johnykgr]

I always wondered why the hue transformations looked like crap, now i know why.. might help with the color corrections in photos.. thanks!

[@RiotEsper]

This is super interesting! Something else worth noting about Lab mode; you won't have access to all the blending modes.

[@DanArnott1]

Another good use of LAB colour mode is to get a 'true B+W' conversion of an image just turn off the a and b channels. Also a good way of working with LAB in real world projects is to make the LAB image a smart object within a RGB document.

[@LuxurioMusic]

AAAAAA Thank You! For some reason I've always had problems getting the blend gamma setting, this Lab colour works beautifully for me.

[@resonate9815]

Thanks Taran for this informative video concerning Adobe's inaccurate color. Marco Bucci has an interesting video on this topic. How altering color can affect brightness values and its not limited to photoshop.

[@legraphista]

L*a*b color space has the same properties as YUV where L=Y (luminosity), a=V (blue to yellow scale), b=U (red to green scale). Most videos are encoded in an YUV variant (4:4:4, 4:2:2, most common 4:2:0). I have a hunch that the hue rotator in AE rotates hues natively in color spaces, which is why you get the approximate result from PS. Try encoding a video in RGB/BGR (h264 in mp4/mkv containers support RGB, APNG also supports RGB) and then see how that affects the hue rotator results.

[@legraphista]

Side note*: Most hue rotators convert the RGB color space to HLS or HSV, rotate H and convert back. You don't need that when you have your luminosity channel separate from the chromatic channels.

[@Lemmskii]

Literally just got this in my recommendations! Ayooo

[@WillFaustCuber]

Literally just got this in my notis!

[@tceo]

interestingly GIMP does not have the issue with changing hue.

[@dkboy60]

@@tbird81 I know it is likely supposed to be a joke, but changing hue in GIMP is one of the easiest things. I would say a tool in the menu "colors" called "hue-saturation..." is pretty simple to understand. GIMP is not rocket-science.

[@_me-ta-_3780]

Linear colours for the win

[@maisaranki6236]

Here's one way of hue shifting in RGB that doesn't look like utter crap: 1) Duplicate the layer and set the duplicate above the original layer. 2) Set the duplicate layer's blending mode to either Color or Hue. 3) Do your Hue & Saturation shenanigans on the duplicate layer. Both Color and Hue blending modes preserve the luminocity that's below the layer, but then add either just the hue (Hue) or both hue and saturation (Color) on top of it.

[@Easterhands]

I love you. I've had such a struggle with PSD colors for a lot of these exact reasons. This is very helpful :)

[@kilojoules_kj]

I just watched a 10 minutes video on the colours accuracy of red, green and blue. The fact that I fully enjoyed, what's wrong with me.

[@przemyslawjasinski6133]

Hey Taran, here's a challenge: 1. take Photoshop's color sampler tool (from the eyedropper menu) 2. mark a few random points on your gradients 3. flatten everything to one layer :) 4. take note of the rgb numbers of the marked points 5. switch to LAB 6. take note of the LAB numbers of the marked point 7. switch back to RGB 8. repeat steps 4-7 a few times. have fun :) You're welcome.

[@SiNevesh]

Fascinating stuff! Definitely going to try out using some of this in my own projects.

[@josh8106]

What I learned today is why so many pros use blackmagic design products for this stuff 😂

[@lolagepwned]

This was amazing, especially coming off the back of a visual computing course, where we covered a lot of lighting stuff

[@yanicfleury7804]

God the dithering in your vocal recording taran

[@TaranVH]

yeah shadowplay mic recording is terrible and IDK why. i forgot to record with audacity at the same time, but I def. wasn't gonna re-record the whole thing

[@yanicfleury7804]

@@TaranVH fair enough man. Super weird how shadow play does that tho

[@MysteryPancake]

Lumetri does indeed respect the luminosity. This can be verified in After Effects by comparing Lumetri and Hue/Saturation

[@nicolanicolov3614]

Dang, my photo editing will never be the same again!

[@lawrencedoliveiro9104]

5:20 That is correct. Lab space is a nonlinear remapping of CIE XYZ space so that distance along the chroma coordinates maps closely to subjective difference in appearance of the colours.

[@ivpt]

I think you can invert the colors and then flip the hue

[@EpicGlowstone]

Gotta leave a comment for the YT algorithm. This is a true life change for photo editing.

[@BarneyKB]

bruh this is revolutionary

[@Saturn2888]

Watching the video, I was thinking "man, this guy's really good like Taran from LTT", and then it's you.

[@Dosenwerfer]

You can rotate hue very accurately by using the HSV color space (hue, saturation, value)

[@silasyamakami3466]

It' kind of late now but in Photoshop you can just create a hue and saturation adjustment layer and change its blending mode to "color", and it will work just as in L*a*b mode, not touching the image brightness

[@mothereric8774]

All i need now is my calibrated microled 10k 300hz 2x1 aspect ratio monitor

[@xureality]

You forgot hardware calibration LUT and 12 bit color

[@TheActualTed]

How exactly does the 10k resolution or 300Hz display change anything about the colors of a static image?

[@mothereric8774]

@@TheActualTed first off, itsa dumb shipost. SECCONDLY more so for "the most accurate video reproduction (short of some crazy vr lightfield stuff) ie your eye can't tell the difference between it and reality (colors are real, resolution is at/near eye level, refresh rate is fast enough even movement is ok...)

[@TheActualTed]

@@mothereric8774 I don't know what you're trying to say in the second part but even tho I noticed it's supposed to be a joke, it is a pretty bad one. What should be funny about that?

[@uttiya10]

Ted you must be fun at parties lmao

[@moebest]

This is weird. When I open a new PS doc in LAB mode, add a white BG layer, use a pure (#FF0000) red brush with 0% hardness and paint on the white layer, the resulting color doesn't have a hue angle of 1°. It only has a hue degree of 1 in the very center. If I sample the color from slightly outwards, it starts to go into orange (up to 14°)... However, when I work on a transparent layer with no background and paint using the same color and same brush, the hue stays at 1°.

[@TaranVH]

that makes absolutely no sense to me...

[@blinded6502]

Isn't that because humans better perceive some base colors better than others or something?

[@moebest]

@@blinded6502 not quite. You can also observe this effect if you set the mode to LAB, create a white BG layer and a pure red (or blue or green) layer above it and gradually reduce the opacity of that colored layer. the color will not only look brighter, but it will also change the hue. Instead of light-red, it will become light-orange. And it doesn't just look like orange, it objectively is orange if you sample the color. And I have no idea why.

[@TheActualTed]

@@moebest Isn't it how light in real world works?

[@Rattacko]

I think it’s because the red colour blends with the white. While with a transparent background no blending occurs at all? Idk anything about colour so I might be wrong but just an idea

[@_me-ta-_3780]

Consider also using 16-bit (or even 32-bit) colour space. I believe that one may be using linear colour math (or at least I'd hope so) and even if not, the extra range of values helps a lot particularly converting between L*a*b and RGB back and forth.

[@user0K]

5:00 So, the color space name is CIE Lab. Colors are not broken with it not because "L" is in the name. But because photoshop rotates colors in HSL color space for RGB mode (yeah, there is also "L" in it). "CIE" is important here. Which means "human perception". And yep, "L" in HSL and "L" in Lab have similar, but different values.

[@matts.1352]

I prefer Lch(ab) blending than Lab, yet the only photo editing program I know of that supports it out of the box is GIMP 2.10. In Lab, L is for lightness, and ab are rectangular coordinates for controlling the hue. Lab is good at preserving lightness when blending, but isn't as intuitive as say HSV where you have a single component for controlling hue. With Lch(ab), L is for lightness, as usual, but c is for chroma (effectively "saturation" but not exactly) and H is for hue angle. Lch(ab) is basically a cylindrical version of Lab (think HSV vs sRGB), but produces more realistic blending between two or more colors than what Lab does. Lab is still good for color correction and the like, but I prefer Lch(ab) for blending or modifying hues. If you're interested, here is a comparison of RGB, HSV, Lab, and LCH/HCL(ab): bl.ocks.org/mbostock/3014589

[@firejelly]

It's probably looking better in premiere because it defaults to 32-bit floating point color and might even be manipulating things in YUV or YCbCr behind the scenes, which is similar to lab (Y is luminance). Premiere also does more under the hood if you work color managed and modifies the colors you see assuming your monitor is properly calibrated for rec709.

[@gehtdichnichtsan1932]

So, Hue swap of a rasterised images is a complex task, you could do it the quick and dirty way using a colorspace conversion and calculate a new point RELATIVE to other colors in the image (this is important, as only complex algorithm would change the vector length to get "better" colors). Why does Premier or Lightroom does this better? There math includes color noice reduction. But the question is more why even bother? e.g. You are a professional and the creator of the artwork (3d/2d) = You have access to the work-files, most likely vector or raw based = Lossless recreation of the same artwork in a different hue. For captured videos , this is not sufficient enough solved, this is the reason Hollywood movies with millions of dollar use white light filtered through coloured foils. Instead of PostProduction *edit As mentioned by others, LAB is perceptual based. Use ACES (current the best) color math while handling color changes + eveything "Claude" wrote below as a reply

[@Claude950]

Color bit depth, working color space and compression of intermediate files are things to be aware of when working in managed environements. When everything is setup correctly this video wouldn't exist in this way. Everything was messed up initially so the results are all off and further testing lead to this.

[@krakow10]

jpeg2000 is used in cinema for storing the frames of the movie. Also what's with the bitcrushed audio?

[@thysonsacclaim]

Must have fully surround sound voices for all YT videos. /sigh . Bet you want 4K on everything, too.

[@aulerius]

YOU DON'T HAVE TO GO TO LAB. Lab-like way to shift hue in rgb is by setting your hue rotation adjustment to "hue" blending mode. This way it preserves lightness. You have to have it as an adjustment layer of course.

[@brunof1996]

Maybe I am dumb, but.... CIELAB sounds like the YUV / YCbCr used in video. Both uses luma and chromaticity as axis.

[@andrewpiroli482]

bruno fernandez They’re similar in principle... LAB is for photo and YCbCr is for video. YUV isn’t relevant.

[@rylandrc]

I know very little of this and it was still fun to see you go on a rant :)

[@JohannesBuc]

You can try to compare the grayscale of the original with the grayscale of the LAB Picture. In Premiere or After Effekts you can use the blending Mode Difference. And then you can see how good they keep the lightness. If the result is complete black its exactly the same. And all differences you will see as something grey.

[@Tymon0000]

Also there are many different ways to change color data into black and white. Keep that in mind when comparing the results.

[@krisitof3]

Feel you, I'm a tach artist/graphics guy at an archviz company for realtime 3D stuff. It's not this bad because we have Linear color space but that has some very sketchy things too. I think this is a way bigger industry-wide problem and just nobody cares.

[@cevxj]

PreyK there’s that, but also the lack of high end color reproduction. The closest people get is the P3 profile on Apple devices.

[@krisitof3]

Carlos Vigil yea. Honestly i’d love to use macs because of this but they still beefing with Nvidia and we really need the horsepower (plus RTX)

[@BKdefr]

Thank you. I always felt something is wrong about hue shift. This makes a lot of sense now.

[@Dodosimch]

Hi Taran, I think some of the artifacts you got when using RGB mode in Photoshop were maybe caused by the fact you were working on an 8 bit project. Try re-doing the test on a 32 bit float project and see if the results are any different.

[@Dodosimch]

*I'm not talking about the re-mapping of the values, I'm talking about the fringing you had in the image.

[@MrJMS814]

This fucks with me in so many ways. At least I'm not the only one who wonders about this stuff.

[@sanjacobs6261]

Pro tip: Duplicate the original layer and put it above the one you hue-shift. Set the blending mode to lightness. That way, you retain the original lightness when hue-shifting in RGB-mode. Edit: Or just set the effect's blending mode to hue.

[@dysphxria1116]

Have you heard of tiling window managers? I think you would enjoy them. It's all about keyboard shortcuts and all that.

[@aravindvissamsetty]

You know you're a legend when the like/dislike ratio is 323/0

[@512TheWolf512]

Taran is gonna take an L and PRESERVE it!

[@blegh277]

your taskbar causes me physical pain

[@noahm]

Interesting video. Thanks for sharing!

[@gar_ee8884]

I don't have photoshop right now to test the hue changes, but a lot of that banding issue has probably more to do with you using 8bit sRGB instead of 16bit, when you're doing any modification you should always edit in 16bit and drop it back down to 8bit for exporting.

[@Dosenwerfer]

And two months ago I had an exam just about color spaces and Lab in image processing.

[@MatthijsvanDuin]

I guess it depends on what you're expecting... the minutephysics way is more correct from a physics point of view (no surprise there) while the Lab color space is designed around human perception, which is why you find the results more pleasing.

[@liaminwales]

Fun video, cant wait to see more color fun.

[@mitchyk]

Today I learned something. I'm not sure what but i definitely learned something! lol Will be using some of this going forwards!

[@anuj12199]

This man might just bring an end to Photoshop.

[@linawhatevs8389]

Proper 180 hue rotation seems impossible to me unless you darken the whole image. Here's an example: 1. Start with a patch of pure, saturated RGB blue (#0000FF) 2. Rotate colors 180 3. The patch is now a different color. Since pure blue is perceptually the darkest color, the new color (which has the same perceived brightness) will not be at full brightness (something like #BBAA00) 4. Make the patch brighter/lighter/increase the luminosity without changing color (something like #EECC00) 5. Rotate colors 180 6. ??? (#0000KK)

[@firnekburg4990]

That was amazing ! But, dude .. YOU ARE A MANIAC ! ;d

[@wright96d]

I didn't think it was possible for Taran to find something I simply don't care about.

[@chrishaselden]

This sure has been a colorful journey.