Desaturated clips with their original colour

Colourisation Ground Truth: colour-patches

The full-colour reference for the colour-patches colourisation set. Every desaturated clip in this group was derived from these exact pixels with a documented luma transform, so a colouriser's output can be scored against the true colours, and on this plate the 24 patch values are fixed and published, so the comparison can be made per patch rather than as a whole-frame average.

File: MP4 · Colour · 640x360
Use case: Video colourisationVideo QA· Conversion set

Colourisation Input: colour-patches, Rec. 709 luma

The colour-patches plate desaturated using Rec. 709 luma weights. Converted with Rec. 709 luma weights, the correct coefficients for HD material. All chroma is gone, so a colouriser has nothing to recover from and must infer it entirely.

File: MP4 · Colour · 640x360
Use case: Video colourisationVideo QA· Conversion set

Colourisation Input: colour-patches, Rec. 601 luma

The colour-patches plate desaturated using Rec. 601 luma weights. Rec. 601 weights instead: the SD standard, and still the default in a surprising amount of software. The greys differ measurably from the 709 version, which is a good check on whether a pipeline knows which standard it is using.

File: MP4 · Colour · 640x360
Use case: Video colourisationVideo QA· Conversion set

Colourisation Input: colour-patches, 50% Desaturated

The colour-patches plate with 50% of its saturation removed, leaving 50% of the original chroma. This is the faded-archive case rather than the black-and-white one: some colour information survives, so the task is restoration rather than invention, and a model that ignores the residual chroma is throwing away the strongest signal it has.

File: MP4 · Colour · 640x360
Use case: Video colourisationCompression artefacts+1· Conversion set

Colourisation Input: colour-patches, 80% Desaturated

The colour-patches plate with 80% of its saturation removed, leaving 19% of the original chroma. This is the faded-archive case rather than the black-and-white one: some colour information survives, so the task is restoration rather than invention, and a model that ignores the residual chroma is throwing away the strongest signal it has.

File: MP4 · Colour · 640x360
Use case: Video colourisationCompression artefacts+1· Conversion set

Colourisation Ground Truth: pan-city

The full-colour reference for the pan-city colourisation set. Every desaturated clip in this group was derived from these exact pixels with a documented luma transform, so a colouriser's output can be scored against the true colours.

File: MP4 · Colour · 640x360
Use case: Video colourisationVideo QA· Conversion set

Colourisation Input: pan-city, Rec. 709 luma

The pan-city plate desaturated using Rec. 709 luma weights. Converted with Rec. 709 luma weights, the correct coefficients for HD material. All chroma is gone, so a colouriser has nothing to recover from and must infer it entirely.

File: MP4 · Colour · 640x360
Use case: Video colourisationVideo QA· Conversion set

Colourisation Input: pan-city, Rec. 601 luma

The pan-city plate desaturated using Rec. 601 luma weights. Rec. 601 weights instead: the SD standard, and still the default in a surprising amount of software. The greys differ measurably from the 709 version, which is a good check on whether a pipeline knows which standard it is using.

File: MP4 · Colour · 640x360
Use case: Video colourisationVideo QA· Conversion set

Colourisation Input: pan-city, 50% Desaturated

The pan-city plate with 50% of its saturation removed, leaving 50% of the original chroma. This is the faded-archive case rather than the black-and-white one: some colour information survives, so the task is restoration rather than invention, and a model that ignores the residual chroma is throwing away the strongest signal it has.

File: MP4 · Colour · 640x360
Use case: Video colourisationCompression artefacts+1· Conversion set

Colourisation Input: pan-city, 80% Desaturated

The pan-city plate with 80% of its saturation removed, leaving 19% of the original chroma. This is the faded-archive case rather than the black-and-white one: some colour information survives, so the task is restoration rather than invention, and a model that ignores the residual chroma is throwing away the strongest signal it has.

File: MP4 · Colour · 640x360
Use case: Video colourisationCompression artefacts+1· Conversion set

Colourisation Ground Truth: gradient-sky

The full-colour reference for the gradient-sky colourisation set. Every desaturated clip in this group was derived from these exact pixels with a documented luma transform, so a colouriser's output can be scored against the true colours.

File: MP4 · Colour · 640x360
Use case: Video colourisationVideo QA· Conversion set

Colourisation Input: gradient-sky, Rec. 709 luma

The gradient-sky plate desaturated using Rec. 709 luma weights. Converted with Rec. 709 luma weights, the correct coefficients for HD material. All chroma is gone, so a colouriser has nothing to recover from and must infer it entirely.

File: MP4 · Colour · 640x360
Use case: Video colourisationVideo QA· Conversion set

Colourisation Input: gradient-sky, Rec. 601 luma

The gradient-sky plate desaturated using Rec. 601 luma weights. Rec. 601 weights instead: the SD standard, and still the default in a surprising amount of software. The greys differ measurably from the 709 version, which is a good check on whether a pipeline knows which standard it is using.

File: MP4 · Colour · 640x360
Use case: Video colourisationVideo QA· Conversion set

Colourisation Input: gradient-sky, 50% Desaturated

The gradient-sky plate with 50% of its saturation removed, leaving 50% of the original chroma. This is the faded-archive case rather than the black-and-white one: some colour information survives, so the task is restoration rather than invention, and a model that ignores the residual chroma is throwing away the strongest signal it has.

File: MP4 · Colour · 640x360
Use case: Video colourisationCompression artefacts+1· Conversion set

Colourisation Input: gradient-sky, 80% Desaturated

The gradient-sky plate with 80% of its saturation removed, leaving 19% of the original chroma. This is the faded-archive case rather than the black-and-white one: some colour information survives, so the task is restoration rather than invention, and a model that ignores the residual chroma is throwing away the strongest signal it has.

File: MP4 · Colour · 640x360
Use case: Video colourisationCompression artefacts+1· Conversion set