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Neverar's A New Hope Technicolor Recreation (Final Version Released!) — Page 17

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age said:

Williarob said:

So the blu-rays were encoded RGB Full, rather than RGB limited?

As I understand it, TVs use a video range from 16-235. It considers levels below 16 to be black, and information above 235 is white. A calibrated TV will never display anything below 16 as anything other than black. Most will also treat everything over 235 as white since it should not exist in video content.

PCs are different and use a range from 0-255. There is no data below 0 or above 255 with an 8-bit video signal as there are only 256 possible values. In short, this is much simpler to understand as the TV concepts of Blacker-than-Black and Whiter-than-White do not exist.

Therefore to make the conversion between RGB Full (“PC Mode”) and RGB Limited (“TV Mode”) all you need is the following levels adjustment in AVISynth

// PC to TV ; scales a [0,255] clip to [16,235]:
Levels(0, 1, 255, 16, 235, coring=false)

Not exactly 😃,the encoded materials use a video range of 16-235 for luma and 16-240 for chroma.
If the input is yuv limited range every tv before the yuv-rgb conversion does a levels expansion from 16-235 to 0-255 for luma and 16-240 to 0-255 for chroma,so the tv can display true white and true black.
From what i understand the blurays were encoded in non-standard yuv limited range,so instead of 16-235 we have for example 16-242.The good is that the highlights aren’t really clipped.

This makes sense. If it is some strange non-standard format, it would follow that Adobe encoders don’t know how to handle the video.

You probably don’t recognize me because of the red arm.
Episode 9 Rewrite, The Starlight Project (Released!) and ANH Technicolor Project (Released!)

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Indeed the blurays appear to be encoded in 16-255 range

I think the best way to fix this is to reduce both luma and chroma levels,because if we consider just the luma the result is slighty oversatured.
For Luma is simple but when i try to reduce the levels of chroma there’s some colors shift (with the levels tools).
To avoid this last issue i’ve opted for the expression tool in avisynth.
For luma the formula is : [" x 0.92156862745 * “]
For uv channels the formula is: [” x 128 - 0.94117647058 * 128 +"]

At this point the picture is even darker,but we can apply an arbitrary brightness enhancement and i guess now we can push the color correction and the result will be quite natural

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I’m amazed that it’s that simple. I wonder if this is the case for all three films.

@NeverarGreat
Some versions of Premiere have been known to use the wrong set of coefficients when handling HD video. If I recall correctly, they use Rec.601 for everything. That might explain what you are seeing.

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The garage scene is just about finished. I decided to use the detail from the SE and the color from the '77 version for the Leia Hologram, in keeping with the stated goals of the project:
Hologram
Comparison

In case anyone’s keeping track, this puts my progress at:

Reel 1: Preliminary Grade 100% - Finalized 100%
Reel 2: Preliminary Grade 90% - Finalized 30%
Reel 3: Preliminary Grade 100% - Finalized 90%
Reel 4: Preliminary Grade 100% - Finalized 100%
Reel 5: Preliminary Grade 100% - Finalized 93%
Reel 6: Preliminary Grade 85% - Finalized 85%
Total Preliminary: 95.8% - Finalized 83%

You probably don’t recognize me because of the red arm.
Episode 9 Rewrite, The Starlight Project (Released!) and ANH Technicolor Project (Released!)

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Very pleasing to the eye.

It doesn’t hurt to offer help, but it always hurts to disregard those that do.

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NeverarGreat said:

The garage scene is just about finished. I decided to use the detail from the SE and the color from the '77 version for the Leia Hologram, in keeping with the stated goals of the project:
Hologram
Comparison

I think you are doing some nice work on this. And I like what you have.

I know you said it is final, and you can have your project however you want it I really don’t mind.

But have you ever considered dropping the bottom end or shadow value by about 10% - 15%.

The reason I am saying this is because I am looking at the green lights up the top of the frame and I wondered if it would bring out a better range. I think it looks very nice but I think you should step your brightness lower at shadows, slightly dipped in the mids and leave your tops exactly where they are. This would not work for outside scenes in the desert for instance.

But in scenes like this, in a darkened space or room you may need to compensate your brightness in terms of the environment.

I’ll let you decide but I really do like your result in terms of the color.

give it a try?

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@NeverarGreat Long time lurker decided to log in and give you applause. Your work and work of Adywan is such a joy. Thank you. Edit: my only concern is while the colors are fantastic, the bloom is so strong it washes off the shadow/details.

Assimilate THIS!

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You’re welcome! I wouldn’t consider my work to be in the same league as Adywan, though I suppose our projects both proceed at a similar glacial pace 😉

On that note, my computer’s primary hard drive died last Friday, and I’ve just gotten everything back up and running. My project files are stored on two external drives, so I didn’t lose any of the work for this project, but all of my editing software was lost along with over a month of journal entries. On the plus side, the replacement drive is almost twice the size of the original, so there may be a noticeable increase in editing performance going forward.

You probably don’t recognize me because of the red arm.
Episode 9 Rewrite, The Starlight Project (Released!) and ANH Technicolor Project (Released!)

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NeverarGreat said:

You’re welcome! I wouldn’t consider my work to be in the same league as Adywan, though I suppose our projects both proceed at a similar glacial pace 😉

On that note, my computer’s primary hard drive died last Friday, and I’ve just gotten everything back up and running. My project files are stored on two external drives, so I didn’t lose any of the work for this project, but all of my editing software was lost along with over a month of journal entries. On the plus side, the replacement drive is almost twice the size of the original, so there may be a noticeable increase in editing performance going forward.

Sorry to read this. Glad that you didn’t lose much, but it still must be a pain, eh?

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My main PC has a raid 1 setup. I’ve had to replace one of the drives twice while the other is still original.

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A comparison of reel 2 part 1:
[REDACTED]
Since the binary sunset closeup was the only shot in my project to conform to the '77 version instead of the SE because of the degraded source, I decided to recreate the SE change using the Silver Screen Edition footage. At least this way it is true to the spirit of the Special Edition.

JEDIT (5-18-17): I adjusted the dinner scene, here’s the updated video:
https://mega.nz/#!LJ8gmJrS!wRlDcUAS1ZwtSu5kd05DrnAjKNeBFyhJdsiB0f8efiM

You probably don’t recognize me because of the red arm.
Episode 9 Rewrite, The Starlight Project (Released!) and ANH Technicolor Project (Released!)

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That looks really good! In fact it looks (Neverar)Great! 😃

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NeverarGreat said:

A comparison of reel 2 part 1:
https://mega.nz/#!qFtjUZKR!bM719-kQqCIKePmAYCvc8bsx2FblQMuJm5XsyTqTkuA
Since the binary sunset closeup was the only shot in my project to conform to the '77 version instead of the SE because of the degraded source, I decided to recreate the SE change using the Silver Screen Edition footage. At least this way it is true to the spirit of the Special Edition.

This is it. This is the original 1977 photography that history abandoned. I’d be perfectly content with this if we never got a new release of the film ever again.

Seeking only the most natural looking colors for Star Wars '77