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