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4K77 reel by reel color grading

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 (Edited)

I was looking at 4K77 v1.0, and wondered whether there’s a possibility to significantly improve the colors, and color consistency without doing a shot by shot regrade. A shot by shot regrade destroys the color relationships between shots, and thus cannot really be seen as an accurate representation of what was seen in theatres in 1977. A reel by reel correction with a superior LUT would preserve these relationships. This small project aims to do just that. I’ve thusfar completed the first three reels. Here’s how they look:

These results are very close to the colors of the 1997 SE, a technicolor color grading minus the green cast.

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DrDre said:

A shot by shot regrade destroys the color relationships between shots, and thus cannot really be seen as an accurate representation of what was seen in theatres in 1977.

If the shots in the reference print differ from each other, but individual LUTs accurately match each shot from the target (4k77, the BD, whatever) to each shot from the reference, then surely the color relationships should be preserved? By “color relationships between shots”, I assume that you mean the inconsistencies in color that occur from shot to shot.

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Chewtobacca said:

DrDre said:

A shot by shot regrade destroys the color relationships between shots, and thus cannot really be seen as an accurate representation of what was seen in theatres in 1977.

If the shots in the reference print differ from each other, but individual LUTs accurately match each shot from the target (4k77, the BD, whatever) to each shot from the reference, then surely the color relationships should be preserved? By “color relationships between shots”, I assume that you mean the inconsistencies in color that occur from shot to shot.

I mean a shot by shot regrade, that aims to improve consistency without the use of a reference. Additionally, if an accurate reference was available, a target like 4K77 would not need a shot by shot regrade, because the accurate relationships between shots are already preserved. Color matching a a number of representative shots of the target to the reference would be enough to get the entire target to closely match the reference.

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DrDre said:
I mean a shot by shot regrade that aims to improve consistency without the use of a reference.

Oh, I see. That being so, the rest logically follows. 😃

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Once again, Dre, your work is peerless. Hats off.

I’m just here because I’m driving tonight.

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Does anyone have any idea when this will be released? It looks to be the best coloring of this film yet by far!

“They were in the wrong place at the wrong time. Naturally they became heroes.”

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A new release of 4K77 is in the works, that will feature these colors. Our esteemed williarob will provide updates in the future, but an exact release date is not yet available.

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 (Edited)

That looks really great!

Is there any merit in this color for this shot?

It’s something I just can’t help feel there is something to it. From techni-disc I think…

It is a re-comp with extra clouds but color wise I personally think it might be more accurate to what the shot should look like perhaps…

It matches the sky and trees in later shots and the cyan sort of color on the horizon.

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Ronster said:

That looks really great!

Is there any merit in this color for this shot?

It’s something I just can’t help feel there is something to it. From techni-disc I think…

It is a re-comp with extra clouds but color wise I personally think it might be more accurate to what the shot should look like perhaps…

It matches the sky and trees in later shots and the cyan sort of color on the horizon.

This is the May 1977 version of the shot. It is only found in the pre Definitive Collection US and UK releases. It was redone for the late 1977 wider release and the international releases. All the 35 mm prints that have turned up are later prints and don’t have this or the three other differences the early prints have (two other FX shots and end credits). Is is rather odd that the Technidisc had this. That version appears to be an odd hybrid with the opening crawl and end credits swapped out, but not the three FX shots in the film. The Moth3r widescreen bootleg and Puggo Grand feature the original May 1977 cut of the film (with a mono version of the original stereo soundtrack, different from the later mono soundtrack that Ben Burt edited for the wider release).

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So this is the original first release?

On the special edition video about creating it this shot is shown in this color and is labelled original version.

But it has extra clouds so are they missing from later prints?

I always thought this was a re-done shot.

I think it looks better that way personally but it certainly is a bit too diffetent to be the whole reel should be that color.

Special effects often end up the wrong color compared to live footage anyway.

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Wow! This is going to look amazing. I’m really looking forward to the next 4K77 release now. It will probably be the definitive way to watch the movie after this incredible color work.

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DrDre said:

A new release of 4K77 is in the works, that will feature these colors. Our esteemed williarob will provide updates in the future, but an exact release date is not yet available.

After sitting through the Disney+ versions and shaking my head at more dumb alterations, frozen grain in many of the backgrounds, and SE CGI that has aged terribly and sticks out like a sore thumb, I’m excited to have such high-quality 4K versions in the works. I’ll gladly wait a few years to have a complete film-like OT in 4K with excellent color.

Thanks to everyone involved in these preservations.

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