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team negative1 - star wars 1977 - 35mm theatrical version (Released) — Page 38

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 (Edited)

These test clips are just to show the cleaning process on the film. We will be posting some comparisons.

Also, there is very little color correction done from the original source.

The starfields will be replaced with a higher quality source.

The cropping will reflect theater standards, so no frame edges will be seen.

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We'll be posting more samples across the other reels as we complete more test clips.

Thanks for all the comments, and compliments.

 

Team Negative1

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What was wrong with the starfields in the original source? Capture?

What’s the internal temperature of a TaunTaun? Luke warm.

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team_negative1 said:

The starfields will be replaced with a higher quality source.

Huh?

What are you, George Lucas?

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Asaki said:

team_negative1 said:

The starfields will be replaced with a higher quality source.

Huh?

What are you, George Lucas?

I'm sure they mean one of their other prints... :)

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The LPP is very dark by its nature. It's not due to the scan process or cleaning, as we've done several tests on it, and scanned in different ways.

So most of the starfield shots will appear dark. We have other sources that we can use to replace frames, partial areas, or entire shots.

Team Negative1

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Just to show you how dark the original version of the LPP is.

Check out this comparison, with the LPP on the top, and the

cleaned, and recolored version on the bottom.

(It goes out of sync of few frames at the end).

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https://vimeo.com/78580912

 

Password : OT

 

Team Negative

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I'm not very knowledgeable on this kind of thing, but would a brighter bulb on your projector set up improve the darkness?

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This is great looking! Keep up the great work and thanks for the samples!

What’s the internal temperature of a TaunTaun? Luke warm.

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Brooks said:

I'm not very knowledgeable on this kind of thing, but would a brighter bulb on your projector set up improve the darkness?

 

This is what Cinch says about the bulb:

"it was an lcd back light panel, i'm still using it for all my transfers.

the other one i can use interchangeably for 8 or 16mm.

 

i guess it doesn't matter much, but you want to have a neutral light source, 

or one that's similar in color temp to a projection lamp. 

just seems to make sense."

 

Team Negative1

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What you really want is a tri or preferaby quad LED light source (2 different red wavelengths) that matches the spectral response of your CCD sensor. That way you can adjust the illumination correctly to ensure you capture the full colour gamut of the film. LPP stock tends to have considerable shoulder and toe, so you need a capture system that is capable of capturing the high density areas wthout blowing out the low density areas.

 

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Not necessarily, but controlled lighting that matches the sensor would be better, as would a sensor with a really high dynamic range vs a lower dynamic range.

A brighter light source on its own may not be the answer if you have a sensor with a shallow well depth, you just end up blowing out the whites.

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My understanding of their set up is that they are using a point-and-shoot digital camera.  I'm not sure what kind of chip it has (I'm guessing cmos?).  What kind of lighting can you produce to cater to that?

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All you need to do is to find out which sensor is being used in your camera of choice, and then get the datasheet for it. The datasheet shows the spectral response curves in Red, Green and Blue. Some cameras have a problem with Red response, so it pays to remove the IR filter from the camera and replace it with a narrowband IR filter.

The peak response in each colour will be at a particular frequency. Then you go through the available LEDs and find ones that are a close match to your particular sensor. Then it is just a matter of creating an array of the LEDs and a control circuit so you can control the duration of the 'flash' of each of the colours.

This combination allows you to balance the exposure and ensure that you are  emitting light that is inside the peak sensor response, otherwise you will end up missing some colour data. If you capture with a LUT that matches the density curve of the film, then that also allows you to get better details in the shadow and highlight areas of the frame. That is harder to do on a standard camera, but a machine vision camera (like the Point Grey Grasshopper series for example) allows you to apply a LUT during capture.

 

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 (Edited)

Here is part of the sample video comparison we made earlier in this post:

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 http://originaltrilogy.com/forum/topic.cfm/team-negative1-star-wars-1977-35mm-theatrical-version-release-details-and-updates/post/666678/#TopicPost666678

The point was not about the quality or compression. It was about the colors and the look of it.

There is some cleaning done, and you can still dirt in it though.

We have upgraded our entire hardware chain from previous versions:

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- Better optics, and higher quality.

- Faster framerate capture

- More stability and higher resolution

We have the capability to do even more, but for the time being we are concentrating on what we have already, and if there are troublesome scenes, we are redoing those.

Any comments regarding our previous captures only refers to that footage, and not to our new redone ones.

This was an early test from awhile ago,

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Notes - No sound, and the top is using the new equipment, the lower is using the previous capture method.

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https://vimeo.com/78836278

 

Password : OT

*Sorry about the previous password.

 

Team Negative1

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Worked fine for me, wonderful work.

 

My question is this. I am a purist and would love to have the un-restored version also Any chance for a supplemental disc that includes the unaltered dirty unrestored version?

 

Thanks

 

Great work btw!! My friend and I did similar work on Superman The KCOP Cut

lots of passes were used on the 16mm cut we used

 

Remember, Highlander, you’ve both still got your full measure of life. Use it well, and your future will be glorious.

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And please understand folks, this stuff takes months and even years. 

Remember, Highlander, you’ve both still got your full measure of life. Use it well, and your future will be glorious.

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Either I have problems with my keyboard or -1 wrote it wrongly but for me the working password is OT not ot

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 (Edited)

Here is another clip showing the contrast between the two methods. The differences here might be more subtle in the corridor scenes.

You can see the difference in the skin tones, and outfits of the rebels.

The stormtroopers don't look as white either.

The new method is the top video.

NOTE : Again, there is still dirt, but not as much there, and no audio.

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https://vimeo.com/78925572

Password : OT

 

We are planning to release the raw take version of the film at a later date, there might be a few different ones, depending on community interest.

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- Raw red captures from faded print. 

- Slightly cleaned red captures.

- Raw LPP capture.

- Raw LPP capture with deleted scenes.

You can see previews of the raw versions from earlier posts in this thread, or related vimeo videos.

 

It all depends on how much time we have.

The rest of team has also made progress on ESB also,

so there might be a few things going on in parallel.

 

Team Negative1

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 (Edited)

team_negative1 said:

 

...- Raw LPP capture with deleted scenes.

 

Deleted scenes?  What scenes are those, did you guys find film of deleted scenes?

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In these clips, the "top" clip looks kind of yellow and dark, the bottom more pink and blue. 

What are we supposed to be seeing here?

 

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team_negative1 said:

- Raw LPP capture with deleted scenes.

What deleted scenes? :O

 

Fanrestore - Fan Restoration Forum: https://fanrestore.com

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Brooks said:

team_negative1 said:

 

...- Raw LPP capture with deleted scenes.

 

Deleted scenes?  What scenes are those, did you guys find film of deleted scenes?

Good question