poita said:
I’ll whip up a quick example for a scene I have multiple prints of.About that before/after demonstration … S T U N N I N G! I knew of this technique (from motion-compensated temporal “frame stacking” – but with the downside of noticeable temporal “grain crawl” at too-wide a range) but never thought to apply it in your manner (for multiple-source frame stacking). Absolutely stunning.
Even still, the blue layer always seems to be the worst hit …
Would any pre-processing (maybe some temporal stacking) help on the worse layer(s), while not negating the source stacking effectiveness?
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NeverarGreat said:
In this example, there are only about 6 dye cloud centers, meaning that only 6 pixels are assigned values. With enough sources, the entire pixel grid can be filled in. … I’m the 1% inspiration guy …That is excellent (and I love your visualizations)! The interesting thing is that this approach also might be useful in things like up-rez via vector reconstruction (must hit the math books for that one) or sharpening via vector calculus boundary redistribution (more math books).
Oh yeah, normally you would do a ton of pre-processing before stacking, and then more cleanup after.
I literally knocked that out in about 15 minutes, 10 minutes of which was computation time, so it is a poor example, I just wanted to illustrate the technique.
Even doing it quite poorly gave enough of a result to show how it works.
The blue channel is always the noisiest, on film or CCDs, and usually requires the most work. It also is the colour where detail matters the least for the way our eyes work, and can be much softer than the other channels without the softness being perceived by our eyes/minds.
I’ve had a look at the pre-scan of Reel2, there is some great colour in there, but unfortunately a bit of red-blob damage particularly in the second half of the reel. Nothing that can’t be fixed, but annoying that it is there when the film is otherwise in such nice shape.