Spaced Ranger said:
I never could get that script to work on the system I was using (with all it's Avisynth plugins, something must've conflicted). But, yes, the approach works only within narrow parameters. (They were having trouble with crushed & blown-out areas that simply wouldn't translate right.)
Here's my test. You've got the procedure right.
The Laserdisc provides the coloring (Hue, Saturation):
As shown, the pan & scanLaserdisc had to be resized and aligned to match the Blu-ray (always a pain to do in a paint program).
Just a note here: The source of the Laserdisc had pretty bad color-clumping that showed up ugly when the brightness (inherited from the Blu-ray) was lowered. I had to blur-smooth it to make the color more uniform in the final mix.
..............
Aside from the fact that the Laserdisc rip's noise is coming through, the Blu-ray has some of it's own. They don't mix well and inheriting of the Blu-ray's darkness, to get it's detail, darkens and changes the coloring.
Your earlier posted regrade looks cleaner and more naturally like the Laserdisc:
And I'm guessing a (working) Avisynth script probably won't do better than the paint program demonstration.
It looks like regular color correction is the right approach. I would suggest, if you're going for a match to the Laserdisc, reducing Speedgrade's contrast a little. The face brightness range is a good measure, but it's hard to tell using these LCD monitors with their critical viewing angles.
Thanks for the demo, Spaced Ranger. Its actually a very interesting process. I'm sure as you said the downfall of the process is that the Pan and Scan is a garbage transfer. The old, garbage in, garbage out. While I was reading this, I was wondering if it would be possible to DNR the Pan and Scan to remove the noise and reduce the clumping of the colors. That way you have little detail/noise but should maintain the colors. Concerning the contrast I want to try to grade the entire movie first and then may add some contrast to the overall project to see how it looks and if it comes close looking how a release print looks.
Chewtobacca said:
Spaced Ranger said: And I'm guessing a (working) Avisynth script probably won't do better than the paint program demonstration.
Yes, and whoever wrote the script would have to resize every shot in turn, which would be a mammoth task.
Sounds best left to a person who knows what they are doing with AVIsynth scripts.
Concerning the workprint. I'm glad everyone likes it but I'm not going to use it for this project, basically for all the reasons stated before but mostly since it already is in the Blu-ray package. Recreating it, is redundant. Plus I now have a new source to work with.
I have really grown to like the colors of the Pan and Scan LD (P&S) and there might still a project in there. I do recognize there are a few things I (and others) don't like about the transfer. Luckly, Jonno was nice enough to give me a copy of the Criterion LD (CC). So far, the CC has my favorite color scheme for BR. Basically, it sits half way between the P&S LD and the BR of the International cut (IC). Some parts look more like the PS others the IC. For example, it has the blue tint of the IC, when Decker is being given the run down on the Nexus 6s. It also has that blue in other places that the IC doesn't. Some green too. On the other hand it also has the golden tint that I enjoy so much, like at Tyrell's office. The tinting is a little less intense then the P&S but strangely it occurs in several places the P&S doesn't. The CC also lacks the extreme purple tint of the P&S transfer that looks like an old telecine issue, then natural to the film. I don't see reel change markers so this might be a print from higher up the food chain.
IC BR/CC LD/P&S LD
