Ronster said:
Williarob said:
Ronster said:
Williarob said:
The DNR version is coming along quite nicely I think:
Ok so I get you are preserving the color of “the print” this is without the light shining through it…
So if this has a purpleish tone and the light from a projector has a yellowish tone would this not equate to the image looking more or less neutral basically what the home video releases tried to achieve?
I find it quite fascinating how when confronted with the problems the answers reveal themselves and you have to do the same sort of thing that has already been done but the full understanding becomes apparent?
But obviously not drastic yellow faces just it comes up neutral in most instances I would imagine.
Possibly, but surely it’s better if I give you the actual colors that are on the print than to pretend I understand the physics involved in shining a light bulb of a certain color temperature through the film with this color and reflecting it off of a white screen?
As Poita said:
poita said:
When it comes to colour, unless you are sitting in a cinema with the print, and doing your colour adjustments based on that, and revisiting them again by watching the print etc. then the grade is going to be revisionist, from a certain point of view.
However if you take a straight scan, and do a ‘one light’ correction to each reel, then the scenes will keep their colour relative to each other. i.e. you can see that the background space colour is lighter in scene 3 than in scene 2, but darker than scene 4. You can see that the Falcon walls are more towards yellow in shot 27 than in shot 14. The presentation will reatin the relative colour and shade values that the original had, so you are closer to seeing how the print looked originally.
Your base might be off, but each scene maintains its relative relationship to each other scene.
Trying to get to the original theatrical presentation colours is a very tricky exercise.
Besides, not all of the Home Video releases are neutral. This early 1982 laserdisc still has green in the wall panels, not the grey of later releases:
No complaints with your process at all, I just perhaps think that it probably overall comes in quite neutral with a light through it.
As far as projection goes there is no 100% value that could be ascertained.
You have various makes and models of projectors and their bulb counterparts which might vary in the light and temperature they put out. You also have to factor in distance drop off from the screen and also what the screen material was as some are more reflective than others. All in all there would be no particular average. All I am saying is if the bulb it slightly tinted yellow which they were… And the print is sort of purple then that would make sense as when combined they cancel out being a variant of neural with a bit of warmth.
That is all really, what I am saying is it’s nothing very drastic from what you have with a light through it. It won’t be radically different from what you have now just that it probably lands on neutral-ish color.
Sometimes though, you have to stop and say, this is good enough.
Sure we can talk bulb temperatures and film hues and lab presets etc etc. In a few pages, we’ll end up talking photons and building a mini Hadron Collider in order to recreate the optimum light photon that a vintage 70s bulb would have emitted.