ffmpeg -i pvalley_s01e01.mkv -vf "histogram=levels_mode=linear,format=yuv420p" -frames:v 1 pynk_histogram.png But that's static. Let's see the shift from day to night. Uncle Clifford's office is bathed in hot pink (high values in the red-blue cross section), while the exterior parking lot scenes under the Mississippi moon are crushed blacks and cool cyan. Using ffmpeg ’s signalstats filter, we can quantify it:
ffmpeg -i pvalley_s01e03.mkv -vf "signalstats=stat=tout:out=brng,metadata=print:file=-" -f null - The output will show that interior club scenes push the chrominance (U and V vectors) into the high 120s (on a 0-255 scale), while "real world" scenes—the church, the bank—stay within safe broadcast range (16-235). The Pynk is literally more colorful than reality. One of Season One's best episodes is "Murda Night," where we see the club through the grainy, low-fidelity lens of security cameras. This isn't a filter; it's a deliberate degradation of the image. Using ffmpeg , we can compare bitrate allocation between a "normal" scene and a "security cam" scene. p-valley s01 ffmpeg
ffprobe -v error -select_streams v:0 -show_entries stream=r_frame_size,avg_frame_rate pvalley_s01e05.mkv The output confirms: 24000/1001 (23.976 fps). Standard for cinematic digital TV. But ffmpeg lets us go deeper. By extracting timestamps: ffmpeg -i pvalley_s01e01