Hello there,
There are exciting things happening behind the scenes under the Team Blu banner, that I can’t divulge at the moment. At the same time I’ve been taking it a little easier, after a period of intense development. Recently a much faster version of the color matching tool was released, and poita and Williarob are testing the color balancing/restoration tool. To be continued…
Does this mean that you are no longer working on recoloring the bluray?
Hello there,
There are exciting things happening behind the scenes under the Team Blu banner, that I can’t divulge at the moment. At the same time I’ve been taking it a little easier, after a period of intense development. Recently a much faster version of the color matching tool was released, and poita and Williarob are testing the color balancing/restoration tool. To be continued…
Does this mean that you are no longer working on recoloring the bluray?
I’m still working on it, although not much for a little while. I suppose I will pick it up again at some point, although with all the new developments surrounding Team Blu, I will have to prioritize.
Well, thanks to williarob I’ve awoken from my slumber. For a while now I’ve been trying to find a way to salvage the colors of what would appear to be unsalvageable prints. I’ve come up with a procedure, that actually combines both the color restoration, and color matching approaches. This does imply, that you need some kind of reference, but here goes.
I took some example frames that team -1 posted a while ago, to show that it is possible to retrieve a full range of colors from a severely faded film print. You will note, that there are some artifacts in the restored frames. These are due to compression, and lack of color depth (8 bit). Here are two frames from the -1 LPP, that will serve as references:
Here are the same frames, but for a print that has almost gone monochrome:
Here are the results after color balancing, and subsequent matching to the references:
Well, thanks to williarob I’ve awoken from my slumber. For a while now I’ve been trying to find a way to salvage the colors of what would appear to be unsalvageable prints. I’ve come up with a procedure, that actually combines both the color restoration, and color matching approaches. This does imply, that you need some kind of reference, but here goes.
I took some example frames that team -1 posted a while ago, to show that it is possible to retrieve a full range of colors from a severely faded film print. You will note, that there are some artifacts in the restored frames. These are due to compression, and lack of color depth (8 bit). Here are two frames from the -1 LPP, that will serve as references:
Here are the same frames, but for a print that has almost gone monochrome:
Here are the results after color balancing, and subsequent matching to the references:
That’s incredible! How long did the tool take to do that?
How does the lit look of you just apply in now to other frames in that scene?
I am proud to say I remember the 80’s!
http://originaltrilogy.com/topic/Episode-1-TPM-game-sounds-files/id/15201/page/1
Currently working on: Red Dwarf Night 10th Anniversary V2.
http://originaltrilogy.com/topic/Red-Dwarf-Night-10th-Anniversary/id/18056#781639
Anywhere between a few seconds and a few minutes. You really have to do this on a shot by shot basis, for an accurate match to the reference.
I was really looking forward to the automatic tool with no references. I know it isn’t always perfect but from what you have shown, I was very excited about its capabilities. There are many orange and teal and other things I wanted to try it on. Are you still planning to release it? I have tried using the color matching tool and it can be awesome, but takes a lot of time and effort to get it right. Thanks!
I was really looking forward to the automatic tool with no references. I know it isn’t always perfect but from what you have shown, I was very excited about its capabilities. There are many orange and teal and other things I wanted to try it on. Are you still planning to release it? I have tried using the color matching tool and it can be awesome, but takes a lot of time and effort to get it right. Thanks!
These new developments are closely related to williarob (and poita) testing the tool. Working with the color restoration/balancing tool is in some ways more of a challenge than the color matching tool, for which the procedure is generally pretty straightforward. I’m still planning to release it, but it may be a little while, before it happens.
I was really looking forward to the automatic tool with no references. I know it isn’t always perfect but from what you have shown, I was very excited about its capabilities. There are many orange and teal and other things I wanted to try it on. Are you still planning to release it? I have tried using the color matching tool and it can be awesome, but takes a lot of time and effort to get it right. Thanks!
I agree. I have a couple of private 8mm films on which I wanted to test it, it would be great if Dr.Dre could release it “as is”
I will think about it. The testing phase has been useful thusfar, for getting rid of bugs in the software. I’m also not that enthousiastic about releasing a tool, before fully understanding the possibilities and limitations myself. Releasing the tool “as-is” could result in me becoming a full time help desk, which is not something I’m really looking forward to.
I’d have to agree, in its current state, DrDre would be flooded with questions and requests, it is very useful, but a long way from being something that wouldn’t require a ton of support from the author to be useful in the broader ‘general’ sense.
I have some files on their way to Dre that might be helpful, and will have some more faded examples coming soon.
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Understandable. I hope someday it can be made available with either very good instructions, or more user-friendly so it is easier for the general public. Thanks for the update!
Dr Dre, enjoying your latest regrades, I rethought this thread : it’s a shame that it hasn’t been updated for three years and thus remained on page 17 of the section. So I found useful to bring it back to page 1, if you don’t mind. 😉
I know that the color balanced version of TN1’s scan of the Spanish LPP (for many reasons), can’t be considered as an accurate source like the tech prints are. But I still think that, for colors, it is one of the most enticing version I’ve seen. I really love how contrasty (yeah, I know it’s probably too contrasty) and colorful it looks.
Here’s how it can look with a quick single correction.
It would be great if, one day, someone manage to give this color timing to a higher quality source.
Dr Dre, enjoying your latest regrades, I rethought this thread : it’s a shame that it hasn’t been updated for three years and thus remained on page 17 of the section. So I found useful to bring it back to page 1, if you don’t mind. 😉
I don’t mind 😉.
I know that the color balanced version of TN1’s scan of the Spanish LPP (for many reasons), can’t be considered as an accurate source like the tech prints are. But I still think that, for colors, it is one of the most enticing version I’ve seen. I really love how contrasty (yeah, I know it’s probably too contrasty) and colorful it looks.
Here’s how it can look with a quick single correction.
It would be great if, one day, someone manage to give this color timing to a higher quality source.
Here’s roughly how I would correct it:
DrDre, I don’t think I’ve read you mentioning it… have you heard of the Digital ROC color-restoration processing plug-in by Kodak subsidiary Applied Science Fiction?
http://www.asf.com/products/plugins/rocpro/pluginROCPRO/
I don’t know that the product has been updated for many years. My Nikon film scanner came bundled with a version, but it only works during the scanning of film. Worked fairly well. Reminds me of your work on restoring color to red-faded motion picture film scans.
ah damn, they just discontinued them and no longer allow downloads after June 2019! just missed this, darn
looking at the first post
looks pretty good, although I feel they have come out a bit too dark shadow heavy and probably mostly a trace too warm and I have a feeling the DS walls were made a touch too neutral (contrary to all the early claims I saw about how they messed up the colors for home releases and ruined the pure gray, the walls were never pure grey as seen in theaters)
If you’re looking at the first post, those frames are almost certainly very outdated.
This page of his 4K77 regrade thread has Dre’s most recent work on it, which will be applied to a future release of 4K77 once he’s finished.