The (recent) 4k UHD of Mad Max by Kino Lorber might well have what you’re looking for 😃
Glad you like it!
Those cut slips are annoying. I hadn’t really considered trying to do anything about them as there are so many in each episode. Perhaps I’ll investigate when I do episode 7 later in the week.
Yeah, if there’s no automated way to do it with your software then you’d surely have to let that (little thing) go as you’re talking, what, well over a thousand instances over the whole series? 😮 For a restoration I did I had to smooth out only 40 or so of those and it was such a drag…but I noticed that another version released officially of the same film had those cut slips corrected beginning to end for the whole movie, and I figured they did not have someone go through and manually do that, had some automated way to do it, but if so perhaps it’s in software only big studios have? Or maybe they did just have someone go through every splice spot for their digital restoration? (Maybe some member reading who has actual knowledge on this subject will chime in)
Anyway, backing away from that tiny thing, once again great job. I still can’t believe I never heard of this show before seeing these two threads on OT here. What a mini trip it’s going to be to watch this (so far I love the red-head dude 😃).
Episode 6 comparison video now on my YouTube channel 😃
Personally I think it’s looking pretty sweet, but that’s just my opinion.
Not just your opinion; it’s indeed looking fantastic! 😃 (Do you happen to have software that can easily fix the cut-slips, as in correcting how the first frame after each cut is shifted a little [due I think to the cement splicing of the celluloid]? If not, no biggie.)
I’ll shut up now.
Don’t shut up! People may not be responding much, but I suspect a lot of people are reading, are interested 😃
Here’s a quick comparison of the visual changes made to Parts 1 and 2
The color and general effect of your brightness and contrast are awesome! 😃 But in the final shot of your three examples in that video (from March 20) — the shot with Ron and Hermione, Harry — you can see (especially with the ground) that you are losing a good amount of detail due to brightness/contrast blow out. Maybe play with the settings on that one to see if you can both keep your overall look and more of the detail? (Or maybe you’ve tweaked that already since that post? It is a few months old now.)
That’s just a quick thought for kicks. Good stuff, CamSMurph, keep up the good work! 😃
I have more a general observation. I’m somewhat reluctant to say it because you’ve surely put a lot of work in to almost all these shots, but I’ll go ahead since you say you want feedback. In my humble opinion — and maybe it’s just me, maybe no one else thinks so — there’s just a little too much packed into this opening of the movie, are too many shots, almost as if you’re making sure to include every possible thing that could fit, but I think this is at the sacrifice of an easier flow for the audience.
E.g., the dam scene (from 2:13:17 to 3:12:13) has 31 shots. That’s a lot for under one minute, but it’s not a huge sin in and of itself. Still, removing three or four of the more redundant/repeating ones (such as toward the end of the scene, with the multiple views of the same thing: the water crashing over and cars flying) might help ease audience fatigue perhaps? I mean, this whole opening of the movie is 17 minutes long, and contains a lot, so everything you have should not fall in the category of being redundant…because all that running time here and we haven’t even hit the main movie yet. (Another little example spot in this regard that pinged me was at 12:29:04, where you have two shots of the ship flying in the high atmosphere. It seems that one would be just fine.)
But, again, maybe this all is just me. If someone wants to chime in and disagree, totally cool by me 😃
I really hope I’m not dis-spiriting you. This is really neat work! 😃 Just needs a little smidge of tightening is my thought, my two cents. Shutting up now 😃
WXM, thank you for the kind words and recommendations. I am taking a week off from the project so I can get some fresh eyes on it. I will definitely tinker with some of the values you mentioned. That being said I will probably never be 100% satisfied with it (I am somewhat a perfectionist to a fault).
What you are doing is an extremely challenging thing to even attempt (as I surely don’t need to tell you 😃) and you’ve achieved a miracle so far. Hopefully my little, amateur “fresher eyes” suggestions will be a little bit fruitful and not just have you running in circles with settings-toying for an hour or two only to land more or less back where you started.
However, I’ve come up with an even better idea since that post!: Go to Lucasfilm and tell them you need the original camera negative for this shot. When they give it to you, you get it scanned in 8k (be sure to tell them to turn the color on!) and that way you don’t have to worry about the colorizing anymore. On top of the color being good, the grain and resolution should at a better starting point than what you’ve been using. Yay, so simple, eh?! Bet you’re kicking yourself for not thinking of it! 😃 (that idea is j/k of course 😄)
erichf69, I feel you on the frame-by-frame photoshop work. That stuff can be so brutal, feels like it’s never going to end. I really dread that stuff, but sometimes that’s the only…😦
If I might offer a slight suggestion on your work… Your colorization is great, but it currently looks just a tiny smidge too much like colorized footage in your mp4 composite there. With the background being a largely gray (with no spots of really saturated color) I recommend you try reducing the saturation a tiny wee bit on the colorized layer. Also, try lowering the brightness just a tad (or increasing contrast a tiny bit?) as the shadowing for the foreground material looks a smidge too bright. Again, just tiny adjustments of those, to get a closer overall feel-match for your final composite.
With the hardest (and very impressive) work behind you, I think toying around with these — testing via small increments — could have you hit an even closer sweet spot in your composite than you have now, accomplished with only minutes of adjustments (instead of hours of work) 😃
I just watched this. If anyone has the slightest bit of interest, highly recommended on both the technical side for tonik’s masterful work as well as being just a solid 25-minute piece of entertainment from Disney. (<- The short is a tad more down to earth/heavy than being only aimed at 5-year-olds, for whatever that’s worth to you)
This was tackled pretty thoroughly already many years ago, and more recently even went from DVD resolution to HD via an overhaul. Here’s the latest thread…
An older one…
That looks fantastic, thank you so much for giving it a go! Are you using add-on Virtualdub filters, or just what’s built in? Been years since I’ve touched VD, so my memory is fuzzy on what’s included.
Definitely a number of add-ons: Gradation curves, Color Mill, Color Balance, Multi-adjust, plus a couple of built-in ones. I’m not really saying “you should go my route!” It could well be that using all those things at once on your master will give you artifacts. I was just wanting to give a try and see what I could do for kicks, just kinda fun for me. 😃
The background art being different, I wonder why they went through the extra trouble? I don’t recall a case like this before for a number of shots (that have nothing to do with censorship).
I’m actually not remotely an authority on this show/movie, have never seen any of it. I just wanted to try the matching with VDub…so I have no sources or anything to offer, sorry. Hopefully someone chimes in offering your ideal materials.
does anyone know of the best software for color grading?
Well, I’m just a simple feller who likes using VirtualDub for many things. 😃 It’s surely not the best there is for color correction, but fwiw here’s the result of my messing around (with a just screen grab – hence the noise and blockiness – of your “home video colors” frame on screenshotcomparison).
Did you notice that the trees are very different between your trailer and the home video snapshots?
I still have yet to try this tool. A part of me likes succeeding at manually matching things. (I accomplished a seamless match across two pieces of mismatched footage just earlier today! So satisfying!) But I’m surely wasting time with those cases by not just using this tool.
One day I’ll hit a brick wall or 'll get fed up or something, and will finally…
UPDATE: I spent the last half hour writing and editing this post, and see you just cancelled. Well, I’m still going to post what’s below anyway after spending that bit o’ time 😃
…approx £150 shipping to Australia…
… If anyone can recommend a scanner in Melbourne, Australia that would be appreciated so that it keeps costs lower
Assuming the listing you’re talking about it the same one I just looked up…
That seller is in the UK, and that region has some world-class scanning facilities I believe. E.g., Arrow is in the UK. So, ponder this longish shot: maybe the seller drives by Arrow on his/her way to work each day and if so then maybe he/she would be open to just dropping it off? I mean, shipping a full 35mm print is a pain in the ass, so if the longshot happens to be so, he/she might well much prefer just dropping the thing off at a scanner if in their area rather than deal with packing, shipping, tracking the thing across the globe, would maybe just charge you £5 for petrol. 😃
So, to reword it: check out the great scanners in the UK, then pass those addresses to the seller with querying if a scanner just happens to be in their area, and if so would they be willing to just drop the print off. After the scan, you’d be dealing with the shipping person at Arrow (or whoever) who of course has vast experience shipping prints around the world, which might be better in some ways than having the seller ship it to you.
Of course if Melbourne happens to have a great scanning facility (that you can just drive the print to personally) then groovy. It’s just that when I saw the seller is in the UK it clicked in my head they do some great scanning there in more than one place IIRC. (Melbourne… Since that’s your city, can’t you just do a local look up, make a few phone calls yourself? You wouldn’t even need to use long-distance minutes 😃)
Hopefully a user or two here who has checked into scanning in the UK will chime in here. I have no experience with this, am just going off of reading these forums over the years.
This sounds cool. 😃 What software(s) are you using for these phases if I might ask?
To get back on this thread’s topic…
44rh1n, your Extended Edition Color Restoration here, are you thinking about maybe using bits of the new 4k — ala maybe "average"ing or "median"ing — to help the shots you couldn’t get to your satisfaction, or just use them as inspiration, or are you just going to leave it as is (or some other option)?
I’ll put this last one from my looking around, one that puzzles me most. I don’t know if these are real mountains or purely effects, but regardless it’s strange how the 4k frame is without as much detail…
I don’t suppose anyone knows if those are real mountains — is real footage that would’ve been scanned at 4k as claimed — or just pure effects/CG?
To be balanced, here’s a bit of detail that shows up nicely/better in the 4k, proving that what I posted above is not a blanket issue for the set
I was looking in the blu-ray.com forum thread about the 4k release and came across this compare (link), which was a bit 😮 to me. Note that I’m not a possessor of these disks, haven’t watched anything in motion; this is just me pointing out stuff others put up, which may be quite “cherry picked” by one of the more frustrated persons there.
That said, I’ve never quite seen something that struck me as much in regards to cranked-up DNR doing damage (well, excluding the dress in Cinderella!) and in an image that’s ideally supposed to have a lot more resolution(/detail) than the BD…
Luckily, people in that thread generally say the good of the 4k set outweighs the bad, sometimes by a huge margin for some, so this compare is surely more just a blip of excess DNR rather than an indication of the whole set being remotely like this.
What’s the name of the font-making software you’re using? I guess I’m rambling on about this as I fear that in the future I might need to do real font customization again and wonder what’s at the top of people’s picks.
\ Edit: Big blab about font work here (and CG software), a bit tangenty perhaps, IGNORE IF NOT INTERESTED 😃 /
I’ve done similar, a long time ago — '90s-early '00s — with FontCreator (I think that’s what it was called).
Since then all my “font customizing work” has been a little off the beaten path: in my CG software…which can’t use a font rather directly like Photoshop, Word, and many many other programs. With my CG software you use a “Create text” tool; you type into its field the text you want and select the font, then the software creates a (flat) CG object/mesh of that text. You use — can fully manipulate — that CG object from then on in (extrude, texture, jitter points, on and on and on, really neat!) but it now has zero connection with the TTF file that created it. I.e., if you decide you want what it says to be different then you need to go back to square one to re-create OR alter the CG object you’ve created using object editing techniques if that happens to be easier (<-ala if you need to change “STACEY” to “STACY” you can just change/edit the CG object by hand in a few seconds…but if you find you now need “STACY” instead of “NORUL” then you have no choice but to go back to square one to re-create/re-type…)
If I decide I’m going to make a custom “font” (for use only in my CG software/scenes) I would get the closest existing font, then type a line with every letter, numeral, punc, and have the tool generate my new alphabet object, then I’d go to town modding (dragging around, adding, deleting points that define the shape), perhaps only a few letters if that’s all the end-result required…and of course if I’ve perfectly cleaned up the “I” I can often copy much of that work over to the vertical stalks of the “H” to save some work/time, then leapfrog that work to the “U” then “V”, etc. if needed.
The usage method of the end result is crude though: When I want to “type” something out with my new lettering I copy the CG-object letters I need and place them by hand (but am very careful to lock their horizontal position, I never allow them to shift up or down). If I’m lucky, my needed text will fall in line with alphabetical arrangement in spots, such as “AB” “DE” “GH” “LM”, to give me strong/definitive suggestions for kerning in at least a few spots. A cool thing about CG software is that all kinds of manipulation is very fast, so if I need two letters on the alphabetical line that are reverse of how I need them — e.g. I need “PO” instead of “OP” — I can still grab “OP” and flip the whole of the pair then flip the “P” (to keep their original kerning); in two seconds my “OP” is now a perfect “PO”.
This all is really only for titles and short bits of text though, no paragraphs. Luckily I have yet to do a project where I needed paragraphs of (custom design) text; I was always able to just straight use a font already out there for that and let the tool do (almost) all the placing/kerning.
Based on what you said, Hutt, I guess I’m kind of lucky with this custom (CG) alphabet approach in a big respect because my kerning is just done by hand, sliding letters horizontally until they’re right, which is fast and always looks great (unlike Arial’s kerning with “rt” always being too close, at least IMO, needing a tiny space inserted).
Outside of my CG software I’ve also been lucky I guess in that I’ve either been able to find a font good enough for my needs, or any mods I needed were so minor they were easily doable (in Photoshop) without editing a TTF file. But I would like to know if there’s something good, perhaps free, out there I could have on hand just in case.
If you made it this far I hope it was of enough interest 😃
With my CG software I can put an image as a backdrop and “trace” over it to create polygons. I assume you can, will do, similar with your font/typeface software? (<- which is what by the way?) Are you going to lay a close font over and drags its points to match are create a “new” font ala tracing your new scans?
The funny thing about it: the names are actually from the original English HD footage. They were not touched at all.
Ah, wow! I think subconsciously I figured something like that was going to be the case, hence all my "chotto"ing/softening. Still, consciously it’s a bit shocking to learn that! That “ST” just looks so off 😃
I am quite eager not to cut any corners
…despite you doing all this for free, just out of the love of the project…! Kudos to your attitude, and hopefully you have all positives come your way as results of these versions you’re doing.
I’ll toss out while here, please keep throwing us these images/examples. Even if people aren’t replying much I’m pretty sure a lot of people are interested seeing what you’re doing, are taking peeks. 😃
Well, Mr. Hutt, once again it seems I’m one of the only people posting in your threads (even though I’m not German, don’t know German), but I’ll say good job and cool stuff! 😃 I’ve done some reworking fonts, but not to the extent you have here ala dealing with the two designs of R’s, N’s, K’s (and your spending so much time on just the kerning) so thumbs up for putting so much effort into it! The CO quote looks great!
To mention something more specific about your last posted images, your “TEIL 1” title looks awesome, but on the second one that opening “ST” on Stanley is kind of distracting with the different sizes of the letters. Seeing your meticulous work, what you have is surely a good reproduction of the original reference, but maybe something about an HD version needs tweaking over what your VHS reference seems to convey? Just a casual two-cents observation for kicks; if you’re seeing that what you have is correct then don’t mind me 😃
am a huge fan ever since 1982, when I watched Aliens for the first time
You watched Aliens four years before it was released? 😉 (You surely meant Alien I know, I just couldn’t resist having a wee bit o’ fun 😃)