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Never mind 😉
Never mind 😉
Never mind 😉
I was just about to check on you Dr. Dre! Have you checked out my Empire Recolor? We’re almost to the New Year!! Happy Holidays!
I will check it out, once I return from my vacation. I’m sure it will be excellent! 😃
Happy holidays to you too, and everyone else lurking about!
Any current links to v1.3?
Preferred Saga:
1/2: Hal9000
3: L8wrtr
4/5: Adywan
6-9: Hal9000
latest version is actually 1.2 (there was some renumbering). Download available here:
http://www.thestarwarstrilogy.com/starwars/post/2015/12/14/Dr-Dres-Magical-Color-Matching-tool
TheStarWarsTrilogy.com.
The007Dossier.com.
Donations always welcome: Paypal | Bitcoin: bc1qzr9ejyfpzm9ea2dglfegxzt59tys3uwmj26ytj
I made a mirror, it’s a much faster download:
https://valeyard.net/2017/03/drdres-color-matching-tool-v1-2.php
[ Scanning stuff since 2015 ]
Will this work if I’m trying to take the color timing of a non-anamorphic dvd and make an anamorphic dvd match it’s color timing? Basically, I have a non-anamorphic dvd of Terminator 2 that has more neutral color timing (less blue) and I wanna use a better qualitty dvd source that has the same (or close to it) color timing.
Will this work if I’m trying to take the color timing of a non-anamorphic dvd and make an anamorphic dvd match it’s color timing? Basically, I have a non-anamorphic dvd of Terminator 2 that has more neutral color timing (less blue) and I wanna use a better qualitty dvd source that has the same (or close to it) color timing.
Yes, you can use a non-anamorphic dvd to match a bluray if you like.
Yes, you can use a non-anamorphic dvd to match a bluray if you like.
Thanks!!
I’ve got a question, is there an easy way to mark scene changes in a file, or better yet auto export an image sample after each scene change.
I’m currently trying out this tool to change the Cowboy Bebop bluray colors into the earlier DVD release.
If need be I’ll do it manually but if there’s a tool to help out I’d love to hear about it.
Hi, your tools works wonder! I want to know if there’s a way to speed things up? Like make it multi-threaded? I tuned “number of color spaces” to 20 and it took a couple of hours to process 250 frames. It is just unrealistic to go for higher quality setting with this speed.
Hi, your tools works wonder! I want to know if there’s a way to speed things up? Like make it multi-threaded? I tuned “number of color spaces” to 20 and it took a couple of hours to process 250 frames. It is just unrealistic to go for higher quality setting with this speed.
It’s generally much faster to export a LUT for use in Davinci Resolve or Adobe After Effects, than to do it frame by frame in the tool. Shot-by-shot correction still takes a lot of time though, as each LUT is good for roughly 100 frames, and there are roughly 2,000 shots in a two hour film.
It’s generally much faster to export a LUT for use in Davinci Resolve or Adobe After Effects, than to do it frame by frame in the tool. Shot-by-shot correction still takes a lot of time though, as each LUT is good for roughly 100 frames, and there are roughly 2,000 shots in a two hour film.
Thanks, I imported the generated LUT into Premiere and it applied instantly, with the cost of spike in RAM.
I’m testing it out on my dragon ball now, and I have a panning shot where there’re noticeable ringing artifacts along the lines. I have to turn smooth up to 0.9 in order to get it away. Is this normal? Can you take a look? I uploaded the reference and test image.
reference: http://i.imgur.com/id8AiRx.png
test: http://i.imgur.com/I54GI7O.png
It’s generally much faster to export a LUT for use in Davinci Resolve or Adobe After Effects, than to do it frame by frame in the tool. Shot-by-shot correction still takes a lot of time though, as each LUT is good for roughly 100 frames, and there are roughly 2,000 shots in a two hour film.
Thanks, I imported the generated LUT into Premiere and it applied instantly, with the cost of spike in RAM.
I’m testing it out on my dragon ball now, and I have a panning shot where there’re noticeable ringing artifacts along the lines. I have to turn smooth up to 0.9 in order to get it away. Is this normal? Can you take a look? I uploaded the reference and test image.
reference: http://i.imgur.com/id8AiRx.png
test: http://i.imgur.com/I54GI7O.png
Did you make sure the cropping is the same for the test and reference frames? If so, could you also share the raw test frame?
It’s generally much faster to export a LUT for use in Davinci Resolve or Adobe After Effects, than to do it frame by frame in the tool. Shot-by-shot correction still takes a lot of time though, as each LUT is good for roughly 100 frames, and there are roughly 2,000 shots in a two hour film.
Thanks, I imported the generated LUT into Premiere and it applied instantly, with the cost of spike in RAM.
I’m testing it out on my dragon ball now, and I have a panning shot where there’re noticeable ringing artifacts along the lines. I have to turn smooth up to 0.9 in order to get it away. Is this normal? Can you take a look? I uploaded the reference and test image.
reference: http://i.imgur.com/id8AiRx.png
test: http://i.imgur.com/I54GI7O.pngDid you make sure the cropping is the same for the test and reference frames? If so, could you also share the raw test frame?
I tested on 3 other scenes, they all work fine even without cropping. I did try cropping this test image to match the reference, but it’s still the same problem with the white ringing between the character and the sky. I also tried sampling from the last frame of this same scene and it works fine again without the need to pump up the smoothing parameter.
reference: http://i.imgur.com/YOCkH0E.png
test: http://i.imgur.com/sRUrxNw.png
It’s generally much faster to export a LUT for use in Davinci Resolve or Adobe After Effects, than to do it frame by frame in the tool. Shot-by-shot correction still takes a lot of time though, as each LUT is good for roughly 100 frames, and there are roughly 2,000 shots in a two hour film.
Thanks, I imported the generated LUT into Premiere and it applied instantly, with the cost of spike in RAM.
I’m testing it out on my dragon ball now, and I have a panning shot where there’re noticeable ringing artifacts along the lines. I have to turn smooth up to 0.9 in order to get it away. Is this normal? Can you take a look? I uploaded the reference and test image.
reference: http://i.imgur.com/id8AiRx.png
test: http://i.imgur.com/I54GI7O.pngDid you make sure the cropping is the same for the test and reference frames? If so, could you also share the raw test frame?
I tested on 3 other scenes, they all work fine even without cropping. I did try cropping this test image to match the reference, but it’s still the same problem with the white ringing between the character and the sky. I also tried sampling from the last frame of this same scene and it works fine again without the need to pump up the smoothing parameter.
reference: http://i.imgur.com/YOCkH0E.png
test: http://i.imgur.com/sRUrxNw.png
The fact that it works without cropping is fortunate, but the method is not developed specifically assuming the image content is exactly the same, except for the colors. It may work fine for some frames, but give artifacts for others.
The reason you get ringing is, because the ringing is already present in the test frame, a side effect of DNR:
The ringing has rougly the same color as the clouds next to it, both being light blue.
The clouds in the reference image are more white, than in the test frame, while the sky is a darker blue:
By color matching the color of the clouds, you automatically also give the ringing roughly the same color as the clouds, causing them to be more apparent against the darker blue background. Sadly there’s very little that can be done about this.
By increasing the smoothing parameter, you reduce the color gradients, as the algorithm tries to keep the gradients as close to the original gradients as possible, while also trying to find the best color match. This may reduce the ringing somewhat, but will generally also result in a poorer color match.
It’s generally much faster to export a LUT for use in Davinci Resolve or Adobe After Effects, than to do it frame by frame in the tool. Shot-by-shot correction still takes a lot of time though, as each LUT is good for roughly 100 frames, and there are roughly 2,000 shots in a two hour film.
Thanks, I imported the generated LUT into Premiere and it applied instantly, with the cost of spike in RAM.
I’m testing it out on my dragon ball now, and I have a panning shot where there’re noticeable ringing artifacts along the lines. I have to turn smooth up to 0.9 in order to get it away. Is this normal? Can you take a look? I uploaded the reference and test image.
reference: http://i.imgur.com/id8AiRx.png
test: http://i.imgur.com/I54GI7O.pngDid you make sure the cropping is the same for the test and reference frames? If so, could you also share the raw test frame?
I tested on 3 other scenes, they all work fine even without cropping. I did try cropping this test image to match the reference, but it’s still the same problem with the white ringing between the character and the sky. I also tried sampling from the last frame of this same scene and it works fine again without the need to pump up the smoothing parameter.
reference: http://i.imgur.com/YOCkH0E.png
test: http://i.imgur.com/sRUrxNw.pngThe fact that it works without cropping is fortunate, but the method is not developed specifically assuming the image content is exactly the same, except for the colors. It may work fine for some frames, but give artifacts for others.
The reason you get ringing is, because the ringing is already present in the test frame, a side effect of DNR:
The ringing has rougly the same color as the clouds next to it, both being light blue.
The clouds in the reference image are more white, than in the test frame, while the sky is a darker blue:
By color matching the color of the clouds, you automatically also give the ringing rougly the same color as the clouds, causing them to be more apparent against the darker blue background. Sadly there’s very little that can be done about this.
By increasing the smoothing parameter, you reduce the color gradients, as the algorithm tries to keep the gradients as close to the original gradients as possible, while also trying to find the best color match. This may reduce the ringing somewhat, but will generally also result in a poorer color match.
Thanks for the explanation, so I think the best approach for this is to find a frame in the scene that has the least amount of ringing + covers a wide variety of colors, build a matching model out of it and apply it to the entire scene and hope for the best.
I know this issue has cropped up before, but all my LUTs that I’ve generated with ColorMatch are not recognized by programs like DaVinci Resolve and Adobe After Effects. Was there a fix found for this? I’m using the latest version of ColorMatch (v1.2).
As far as I know the LUTs produced by the tool work in both Resolve and After Effects. Here’s the latest version, for which I tested the LUTs in Resolve:
https://drive.google.com/file/d/0B8_LYKyZDiajTE5ZOXNlMW5JQ28/view?usp=sharing
As far as I know the LUTs produced by the tool work in both Resolve and After Effects. Here’s the latest version, for which I tested the LUTs in Resolve:
https://drive.google.com/file/d/0B8_LYKyZDiajTE5ZOXNlMW5JQ28/view?usp=sharing
It seems that the ‘repair’ option in the Matlab installer fixed the problem. I’ll test it further tomorrow. Not sure what caused it though. Anyway, this will hopefully speed up my workflow with this program. It can’t be said enough how useful it is. 😄
I see part of Videl’s head from DBZ? 😉
…man, if any anime series needs a proper restoration, it’s DBZ. >_< I wonder how much of it survives on 16mm outside of Toei and Funi’s vaults.
"Right now the coffees are doing their final work." (Airi, Masked Rider Den-o episode 1)
It’s generally much faster to export a LUT for use in Davinci Resolve or Adobe After Effects, than to do it frame by frame in the tool. Shot-by-shot correction still takes a lot of time though, as each LUT is good for roughly 100 frames, and there are roughly 2,000 shots in a two hour film.
Thanks, I imported the generated LUT into Premiere and it applied instantly, with the cost of spike in RAM.
I’m testing it out on my dragon ball now, and I have a panning shot where there’re noticeable ringing artifacts along the lines. I have to turn smooth up to 0.9 in order to get it away. Is this normal? Can you take a look? I uploaded the reference and test image.
reference: http://i.imgur.com/id8AiRx.png
test: http://i.imgur.com/I54GI7O.pngDid you make sure the cropping is the same for the test and reference frames? If so, could you also share the raw test frame?
I tested on 3 other scenes, they all work fine even without cropping. I did try cropping this test image to match the reference, but it’s still the same problem with the white ringing between the character and the sky. I also tried sampling from the last frame of this same scene and it works fine again without the need to pump up the smoothing parameter.
reference: http://i.imgur.com/YOCkH0E.png
test: http://i.imgur.com/sRUrxNw.pngThe fact that it works without cropping is fortunate, but the method is not developed specifically assuming the image content is exactly the same, except for the colors. It may work fine for some frames, but give artifacts for others.
The reason you get ringing is, because the ringing is already present in the test frame, a side effect of DNR:
The ringing has rougly the same color as the clouds next to it, both being light blue.
The clouds in the reference image are more white, than in the test frame, while the sky is a darker blue:
By color matching the color of the clouds, you automatically also give the ringing rougly the same color as the clouds, causing them to be more apparent against the darker blue background. Sadly there’s very little that can be done about this.
By increasing the smoothing parameter, you reduce the color gradients, as the algorithm tries to keep the gradients as close to the original gradients as possible, while also trying to find the best color match. This may reduce the ringing somewhat, but will generally also result in a poorer color match.
Thanks for the explanation, so I think the best approach for this is to find a frame in the scene that has the least amount of ringing + covers a wide variety of colors, build a matching model out of it and apply it to the entire scene and hope for the best.
If you look at williarob’s “Restoring Color to Red Faded Film” video
…beginning at the 15:47 mark, he explains how you can do just that–build a model containing a wide variety of colors. You are grabbing sample frames of the shot that you are working on from both the reference video and the test video, and creating LUT’s of all the colors in that shot.
It’s generally much faster to export a LUT for use in Davinci Resolve or Adobe After Effects, than to do it frame by frame in the tool. Shot-by-shot correction still takes a lot of time though, as each LUT is good for roughly 100 frames, and there are roughly 2,000 shots in a two hour film.
Thanks, I imported the generated LUT into Premiere and it applied instantly, with the cost of spike in RAM.
I’m testing it out on my dragon ball now, and I have a panning shot where there’re noticeable ringing artifacts along the lines. I have to turn smooth up to 0.9 in order to get it away. Is this normal? Can you take a look? I uploaded the reference and test image.
reference: http://i.imgur.com/id8AiRx.png
test: http://i.imgur.com/I54GI7O.pngDid you make sure the cropping is the same for the test and reference frames? If so, could you also share the raw test frame?
I tested on 3 other scenes, they all work fine even without cropping. I did try cropping this test image to match the reference, but it’s still the same problem with the white ringing between the character and the sky. I also tried sampling from the last frame of this same scene and it works fine again without the need to pump up the smoothing parameter.
reference: http://i.imgur.com/YOCkH0E.png
test: http://i.imgur.com/sRUrxNw.pngThe fact that it works without cropping is fortunate, but the method is not developed specifically assuming the image content is exactly the same, except for the colors. It may work fine for some frames, but give artifacts for others.
The reason you get ringing is, because the ringing is already present in the test frame, a side effect of DNR:
The ringing has rougly the same color as the clouds next to it, both being light blue.
The clouds in the reference image are more white, than in the test frame, while the sky is a darker blue:
By color matching the color of the clouds, you automatically also give the ringing roughly the same color as the clouds, causing them to be more apparent against the darker blue background. Sadly there’s very little that can be done about this.
By increasing the smoothing parameter, you reduce the color gradients, as the algorithm tries to keep the gradients as close to the original gradients as possible, while also trying to find the best color match. This may reduce the ringing somewhat, but will generally also result in a poorer color match.
What about color correcting the dragon boxes instead?
I’m wondering, would it be possible to add the feature to save and load cropping settings? Say one of your sources has roughly the same amount of cropping throughout relative to the other source, it could save some time having to crop every single shot individually.
That’s a good idea. I will look into it.