Hi, I’m quoting your last post but I’ll try to answer every question you’ve asked in this thread.
Thanks. But let me pick up those which got unnoticed:
- What tool(s) do you use for that kind of color adjustments?
- Do they offer any option to apply dither the output before the encoding stage?
BUT it is the only version available in 1.78.
Except for that HDTV version which jakeandelwooduk mentioned, isn’t it?
I tried to compare it with the scope version and besides the fact that not all shots are open matte but sometimes slightly zoomed, the geometry of the shots are also not always matching. After thoughts, I decided it would be too much work to blend 2D and 3D images together cause it would have to be done shot by shot.
I concur, same diagnose. I supposed the effort is also tremendous with “only” the color correction, isn’t it?
But my work on Titanic will stop with the 4K Filmized Open Matte Remaster.
Fair enough.
And the whole project that will also get the 4K Filmized Remaster treatment with adjusted color grading.
What would be great!
V2 is now available and should sync with you all.
Many thanks for sharing and all your great work. Will be enjoyed, backed up and cherished.
Again I wondered what could be accomplished if anyone sane would get access to the original negative and scan that with only minimum color adjustments so it looks right on today’s screens with pristine HDR, preserved film grain, open matte, etc.
Sigh …
I’m working on Premiere Pro with Lumetri color adjustments and I’m using the Voukoder plugin that allows you to use the open source x265 encoding. It offers better encoding resulting that even the best h265 encode settings available in-app. x265 is the encoding solution available on the well-praised Handbrake software. It offers lots of settings including the way x264 needs to encode color settings. In this case, considering the Open Matte version is sourced from a h264 4:2:0 8 bits encoding, I thought the whole 4K Filmized Remaster process would have worked in the same color space… Only to find that the final image had banding and macro blocking issues. That’s why I made a V2 from scratch using 4:2:0 10 bits for the whole remastering process. You’ll surely notice differences from V1 to V2 during deep ocean scenes and final scenes of the movie.
Of course I’ve seen the post regarding the HDTV version but I wanted the best encoding available for the open matte. Even if that means a little more DNR baked in the source.
If only we had access to the OCN… All that work wouldn’t have to happen then.