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Maybe a direct color match with Revisited would be good?  I thought it attempted to match the GOUT while taking away its problems.

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WooHoo! That's encouraging news on the transfer part.

I don't know which thread he made the color-correction offer in, but he offered to take on a humongous task. There's a lot to mastering the subject (which he already did), and every shot has to be done individually.

We're happy to see these gargantuan pictures with their nice detail. Even the uncorrected ones soothe my heart.

There's a reason that the WG, Gout, and uncorrected seem too muddy - they had no correction at all. Human eyes respond to light differently than film, the various electronic imaging methods, and displays. (And they all respond differently from each other). Scanners can't begin to correct for themselves, the corrections need to be done "in post". (Well, some scanners can increase or decrease the amount of overall light, some can even change the amount of light per color channel, other than that, though...).

I still suck at it, myself. But if you're still interested in correcting your own scans, have you looked at this, and the other articles? X0 - setting black and white points .

I think most serious photo applications, like Photoshop, have a monitor calibration thingy, or at least a monitor profile setting dealy. You also need to do your tv(s), and check your work there (X0 has an article on that, too).

Jpeg (and mpeg) can't be remastered worth a damn. You either have to work with uncompressed tiff, or what they call "raw" files, which are an uncompressed dump of info, that many scanners can do). 16-bit-per-channel files (48-bit color), or as good as the scanner can do. Unfortunately Those files are pretty large, which is another reason not to scan the whole film, yourself, if you can help it. (Film houses use some other file formats, that I haven't looked into, like the 10-bit-per-channel Cineon). (Your tiff and raw will be 16-bit-per, even if your scanner can only do 9-bit or 10-bit, in which case, the extra bulk would be waste, but they'll still work better than 8-bit).

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Well i wouldn't use Revisited as a colour match reference as i took some liberties with the colour (making the Death Star interiors grey and not the grey/Blue it should be. Even though the AVCHD i'm doing is closer to what it should be the 2004 transfer had so many colour problems that its impossible to get the perfect balance. With a colour correction taken direct from a print transfer it is best to start from scratch. The GOUT is not a source that should be used for reference. It has a red tint to it and this also has its own colour problems.

As for the throne room scene well the 2004 transfer crushed the blacks and a lot of detail was lost and impossible to recover, but here's a snapshot from my AVCHD that matches the one above:

As you can see the background detail has been lost but thats thanks to the transfer and not the colour correction. Nothing can be done about that though

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Alright, I tried my hand at color correcting these bad boys.  I tried to make it as simple as possible, so this is the three-step process I did in Photoshop:

1. Adjust the Levels for each shot.
2. Color Balance, adjusting the shifted the Cyan/Red between -30 and -50 and the Yellow/Blue between -15 and -20.
3. Used Selective Color to add Reds back in.

They're not perfect, but I think they might be a good starting point.

In doing this, I found that throwing a blue filter is a really tempting way to fix a film faded like this.  I can understand, but not excuse, the 2004 DVD now.

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Wow, 4K. That would be incredible.

I was thinking yesterday while doing those color corrections (which were tons of fun by the way) about scratch removal, and the great thing about having all of these people willing to work on it and no deadline, is that we can actually split the movie into hundreds of pieces and have each person remove the scratches "by hand" instead of running it through some filter that will also get rid of the film grain/atmosphere.  I'm not sure how well it would work, but its always a possibility.

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Hey, I lurked this thread from the beginning, and I'm more than willing to help out with what I can.  A problem with splitting the film up to color correct is that we all might have different opinions on a way a scene should look, and someone might do one shot one way, and the cutaway might look completely different.  I guess we could have one person do all of the Exterior Mos Eisley scenes, for example, so that the walls don't change shades in between shots...

I'd love to do more color correction on your scans.  Since I tried to do a basic first pass on the ones I posted, I might just go through and try to perfect each one.  We'll see.

And I had problems with the aspect ratio, as 2.2 seemed way too stretched, so I did it at 1.9.

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I'm all for fun!

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negative1 said:

GoldStone9 said:

negative1, just wondering, but is your monitor calibrated?

 

 that's another HUGE problem.... i've got 3 monitors..

a dual screen setup

So in other words, no, your monitors are not calibrated.

negative1 said:

there is a chance, i don't know how much .....but its possible

that the scans might be 4K !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

 

i have no idea if that is really necessary or not, but the format

will be 10k log files.......

 

i think 4k would be overkill, but since this is just a test, who knows?

If you're going to get it scanned, it might as well be at the highest resolution available.  No sense in doing it at a lower resolution and then end up wanting it at something higher a year or so later.  It might take up a lot more space, but it'll be worth it in the long run.

doubleofive said:

Hey, I lurked this thread from the beginning, and I'm more than willing to help out with what I can.  A problem with splitting the film up to color correct is that we all might have different opinions on a way a scene should look, and someone might do one shot one way, and the cutaway might look completely different.  I guess we could have one person do all of the Exterior Mos Eisley scenes, for example, so that the walls don't change shades in between shots...

Anyone that's going to do any kind of color correction for a project like this needs to have their monitor calibrated.  That way it won't matter if it's one person or 10 people.  If the monitors are all calibrated, then everyone sees everything the same way.  That's the whole point of calibrating your monitor.  Otherwise, you're right.  What looks like red to you may in fact be pink.

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