slow for the amount of improvement. RGB float does not destroy
information when used with YUV source footage and also supports
brightness above 100\,\%. Be aware that some effects, like
-Histogram, still clip above 100\,\% when in floating point. See also \ref{sec:color_space_range_playback} and \ref{sec:conform_the_project}.
+Histogram, still clip above 100\,\% when in floating point. See also \ref{sec:color_space_range_playback}, \ref{sec:conform_the_project} and \ref{sec:overview_color_management}.
\item[Interlace mode:] \index{interlacing} this is mostly obsolete in the modern digital
age, but may be needed for older media such as that from broadcast
source: \textit{rec709} $\rightarrow$ monitor: \textit{sRGB} (we get slightly faded colors) \\
source: \textit{rec709} $\rightarrow$ monitor: \textit{DCI-P3} (we get over-saturated colors)
\item It would be better to set the project as RGB(A)-FLOAT, allowing system performance, because it collects all available data and does not make rounding errors. If we can't afford it, starting from YUV type media it is better to set the project as YUV(A)8, so as not to have a darker rendering in the timeline. On the contrary, if we start from RGB signals, it is better to use RGB(A)8. If we don't display correctly on the timeline, we'll make adjustments from the wrong base (metamerism) and get false results.
+ \item Having correct color representation in the Compositor can be complicated. You can convert the imput \textit{YUV color range} to a new YUV color range that provides more correct results (i.e. MPEG to JPEG). The \texttt{Colorspace} plugin can be used for this conversion.
\item Among the rendering options always set the values \\
\texttt{color\_trc=...} (gamma correction) \\
\texttt{color\_primaries=...} (gamut) \\