Video Colorspaces and Vegaspro-ACES

What project properties are set? If you're in 8 bit mode it is Rec709 so you're good to go.

Yes, I was using 8-bit full range.

Most video is YUV.

Really? I didn't know that. Thank you.

Something else I've noticed though, if I right click on the video inside VEGAS Pro 18, select the Rec.709 colour space, it then has an option to select 'Undefined', 'Limited, or 'Full'. But then the video looks a tad washed out like it's on the Legacy 8-Bit pixel format setting, yet it looks like some lights in the video are little less blown out, like a little more detail is retained. That's the best way that I can explain it, as it is in the Legacy 8-Bit pixel format setting.

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@MH7 said: "... if I right click on the video inside VEGAS Pro 18, select the Rec.709 colour space, it then has an option to select 'Undefined', 'Limited, or 'Full'."

From the Mediainfo report for your video.

colour_range                     : Limited

@MH7 said: "... if I right click on the video inside VEGAS Pro 18, select the Rec.709 colour space, it then has an option to select 'Undefined', 'Limited, or 'Full'."

From the Mediainfo report for your video.

colour_range                     : Limited

Thanks mate! The answer was in my own post. 😁 LOL

Out of curiosity, how accurate is MediaInfo in displaying the correct info of videos?

MediaInfo does transfer meta-data, does NOT analyse content/signal.
The Info is 100% accurate thus.

MediaInfo does transfer meta-data, does NOT analyse content/signal.
The Info is 100% accurate thus.

Ah, okay. Thank you! 👍

MediaInfo does transfer meta-data, does NOT analyse content/signal.
The Info is 100% accurate thus.

Unfortunately, it are metadata really - Yelandkeil is right here.

But a lot of our rec709 cameras recorde also what was called "superwhite" - so luminance ranges higher then 235 (up to 255). So, how do you call a footage that shows luminance signals in the range of 16 to 255? What is then found in the metadata for that, what is shown in Medainfo? Mediainfo will show only the metadata, but what if those metadatas are simply wrong?

Please be also aware that you can adjust the scope range in the waveform monitor in Vegas in additon! That makes it more complicated. Given the settings for the scope range, 100% in the waveformmonitor can be 235 or 255.

But then the video looks a tad washed out like it's on the Legacy 8-Bit pixel format setting, yet it looks like some lights in the video are little less blown out, like a little more detail is retained. That's the best way that I can explain it, as it is in the Legacy 8-Bit pixel format setting.

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This happens if your camera has recorded 0..255 or (more likely) 16..255 in reality, and if your project settings compress the luminance range to the legal range again. Then the signal becomes more flat, since the contrast is reduced here.

I would suggest you to analyse your footage in terms of the real luminance range it has, and set the project settings according to those findings.

Like Shakira's hips, the Histogram don't lie. The Waveform display might be a little coy at times.

Like Shakira's hips, the Histogram don't lie. The Waveform display might be a little coy at times.

That is exactly the point: the histogram shows signals in the color channels green and magenta up to 255. But the luminance goes up to something about 235 only. Funny enough,

You have set the scopes to studio RGB. Means, 100% in the waveform are 235. Ok, it goes a little bit higher then 100%, what is in line with the luminance in the histogram.

But to set it to limited is a question mark, since the scopes go higher then 235 = 100%. However, to set them to default or full does here not change a lot.

But try for fun to set the project properties to video (either 8bit video or 32 bit video level). You will see immediately, that the luminance range becomes compressed, and that in all tools. In the waveform, in the RGB parade, in the vectorscope but also in the histogram.

I would suggest you to analyse your footage in terms of the real luminance range it has, and set the project settings according to those findings.

Well, out of curiosity, how would I go about doing that?

There's a thread here with instructions and a list of actual levels. Shoot black with a lenscap on and whites into a light letting it completely blow out. Look at the histogram in Vegas.

There's a thread here with instructions and a list of actual levels. Shoot black with a lenscap on and whites into a light letting it completely blow out. Look at the histogram in Vegas.

Okay, I’ll definitely look at doing that. I have seen that thread. Thank you!

Assuming you're about producing traditional TV-videos and won't go 32bit...blabla, you have 2 choices for project-setup: 

1, 
8bit legacy. 
This mode does tough neither your edit invironment nor properties of the footage you put onto timeline. 
Say you are editing with a computer monitor (its color space is sRGB or its color range=0-255), then you adjust all your footage right on the timeline till you're satified and, by rendering out, add the levels filter to limit your signal to 16-235 (that's the TV-video's color range). 

2, 
8bit full range. 
This is the idiot-easy mode presuming you alread sit in front of your computer monitor. 
Footage that you put onto timeline will be determined which color range they do have, if it's limited (16-235) then VEGAS expands the range to 0-255. 
After you finished your edit and go rendering, VEGAS converts your timeline signal automatically to standard TV-color range. 

2.1, 
During the edit if you find VEGAS's expansion is absurd and cuts too much details of your footage, you also can adjust the footage color range manually and vice versa. 

3, 
So, forget your Sony FDR-AX700, forget XAV-S, any source footage with no matter what kind range are all welcome in VEGAS. 

For production, your project must aim at parameters/properties of that product instead of source material which can, may and dare vary. 

4, 
Be assiduous and take some time to study the scopes till you know how they function and what they are monitoring. 
I can assure you, asking in any forum is the most silly way. 
Forgive my rudeness. 

Well, out of curiosity, how would I go about doing that?

Use the media generator inside Vegas, to generate a grey picture with a luminance range from 0 to 255.

Have a look to histogram and wafeform monitor, to see how the luminance looks like. Not composite, please.
Make that for different settings of the waveform monitor, to see at what pegel of the scops you will find the 100% and 0%.

And do that for different project settings.

When you have learned that, you have the basics to analyse your footage.
 

Off course, this is a silly answer only! :)

😁😁 I AM so silly that I forgot to tell him which preview window my scopes are monitoring. Ohyeye. 😰😰😰

I swear, from now on never reply silly and Silly.
Bye.