“Remind me why I’m the one playing the part of a slave?”
“I tried it once. I wasn’t any good at it. Besides, the role of Master comes easily to me.”
“Really? Well this time try to be convincing at it.”
I like the sound of that, not bad at all.
In my book, experience outranks everything.
Yep, it’s a force for change.
“Another software to add to my collection.” ;p
Had this tool recommended to recently. It does a fantastic job at manipulating colors with minimal artifacting and is especially useful for color/tone matching shots. Unlike other software, the parameters for shot matching is quite extensive. Similarly it seems to do a good job at degrading and adjusting the tonal curves.
Each film has a unique blanket “degrading” input LUT applied to the film, followed by usually three or four levels of scene/shot specific grading tweaks, and then a unique blanket “film emulation” ending LUT. Using this in combination with the work I already have in Resolve is quite exciting.
On other notes, I’m continuing to figure out a new storage situation that will have redundancy in mind, as I’d rather not be the one to experience the loss of precious data if I have any hopes in finally completing this project one day.
Worthwhile watch of an cinematographic analysis and a look into the behind-the-scenes technical details. (mind the April fools day joke at the beginning.)
https://youtu.be/no97AYwXsD8
Love the lighting techniques utilized in this film, and Interesting how the film has a blanket emulation of the Kodak 5230 film stock applied.
It was pretty obvious looking at the finished scene, but lol at this being the first scene we see Vader in.
I speculate…I will again have gotten my hopes too high. Signs exist that point towards an OOT announcement (or at least new transfers that aren’t complete sh**), but I just can’t remotely believe any of it right now. I’m refusing to get all excited till then.
But more seriously, I think I’ll be holding back the tears again. I’m taking off work to ensure I can watch Mark Hamill’s tribute to Carrie Fisher live. Over 3 months, and somehow I still don’t know how to accept it. I’m sure they’ll be plenty of laughs though, I really hope the atmosphere during Celebration surrounding her is kept true to her most wonderful sense of humor.
I’ve been waiting for someone to finally try doing this.
That might actually have been pretty cool if the narration wasn’t shit.
I’m pretty sure that’s just some text to speech voice so yeah that’s bad, but I mean the editing is pretty spot on.
I’ve been waiting for someone to finally try doing this.
The fam wanted to watch ROTJ tonight and I misplaced my despecialized copy…yeah I loathe the SE changes of ROTJ the most…I had myself leave the room because knowing my level of irritation would probably piss off some of the family members I am forced to deal with (PT is superior, TFA is bad). Oh boy…
So yeah…they need to release OUT officially on blu-ray and/or 4k…save me…
While the exact amount of detail varies between prints and negatives, any piece of film has a limited amount of detail. However the resolution is limited. So you can get a clearer and smoother image as you go up, even if no new detail is revealed.
And wider color gamut and color depth isn’t the main thing about HDR. Essentially you can go deeper into the blacks before clipping (though your room has to be ludicrously dark to most of the advantages), and more importantly vastly higher into whites before clipping, or I should more accurately just say highlights and shadows. The issue with current display standards is that you lose color vibrancy as you go dark or as you go bright. Max brightness can only be white on traditional displays. The idea is to have such values actually still retain color saturation, allowing for color decisions previously not possible. This could be as simple as being able to have the blue sky of the dat actually look bright, more similar to what you’d see with your eye.
Now the dynamic range of your format does affect the amount of detail you can show off as you can’t recover clipped values in a shot, but the details that do exist can be spread across the whole HDR range. Many modern cinema cameras can now have that level of detail to adapt wonderfully to HDR as recording in flat LOG type formats allow for an incredible amount of light information to be compressed into the footage.
Many top notch 35mm film scans currently in existence, I could imagine have plenty enough detail to support an HDR grade.
A well timed and refined HDR grade of these films from a new 4K+ scan of the negatives has the potential to be quite immersive.
Film scans can often capture the full dynamic range (aprox 13 stops) of the film now, though standard displays lack the ability to display all that range at once with about 5 stops range.
I just someone point out on the Legacy forum that the “Star Wars Show” confirmed that this panel is entirely about A New Hope specifically and that there will be surprises. Here’s the link if you haven’t seen it:
So they italicize A New Hope for “A New Hope turns 40!”, but then they more importantly italicize Star Wars in “Star Wars 40th Anniversary Panel”. I see what they are doing there…me like.
I think it’s happening, but yeah I’ll keep my all caps hype posts till it actually gets announced officially at Celebration.
Fingers crossing for both the OUT and a new “from-the-ground-up” special edition.
And yeah…I kinda want them to leave the OUT COMPLETELY UNALTERED. Keep the poor matte lines, and every little error. People spent hours upon hours of painstaiking work for many of those shots. The composites should stay as they are, otherwise they are just erasing away many of those people credited for the special effects work.
But for whatever SE they put out, they can go all out crazy. Fix every error, give color grades to match Rogue One, and even use some of the new CG tech they made for Rogue One such as the miniature model rendering. I’m all for something radical as long as the theatrical cut is officially available.
The SE’s only leave a really bad taste for me given the status of the original versions…
So glad that my local multi-library system is used far less thanks to streaming and digital versions. They had like over 40 copies of the TFA Blu-ray within the first two weeks of the home video release. And with only like 120 holds total at the time, no problem. And now I always see a copy on the shelf.
Hence why I still haven’t bought TFA.
I’ll have no problem doing the same with Rogue One.
That behind-the-scenes list is pathetic. They are so lazy with these releases compared to back in the day.
The prequels had wonderful bonus features on the DVD’s…and they don’t deserve those as much.
So since you are using parts of ANH:R, does that mean you’ll also use the extended Alderaan destruction?
Gotta say the scene is quite entertaining with this rendition of the music playing.
https://www.youtube.com/watch?v=mIU8wgFOpi0&list=PLhsDLN-3PD17bS9uNdFriwodQ3zgDnT15&index=5
Numerous tracks might be useful there for elsewhere in the film or Ridiculous saga too.
Looking at the above promotional image or 35mm scan, I just threw that blu-ray screenshot into Resolve real quick to do a rough match of the look.
Oh I’m holding out for the TV as well, just there’s not any info on most of the 2017 models just yet. The monitor won’t be out till Q3 of this year, which I’m sure will also be when the new TV models arrive.
And idk, I feel like the rate at which these standards and technologies are changing I personally will just stick with an LED for now over OLED. I might change my mind. Having a new display monitor is my first priority. I myself don’t necessarily feel I’ll need the TV till I’m further along in the project enough to do proper full playbacks of latter drafts of the grades.
And surely, I can focus my time on getting to know VA well and making an even better source to work my grade from.
Also, determined to lessen any unexpected delays, I’m sure to set up for myself a proper RAID setup to ensure I don’t lose any of my project files. The files can get quite big. Each film in the 12 bit 4K lossless form is over 2TB. Meaning 8TB minimum free storage just for the raw source material alone, not to count the space needed for saving renders and such. I plan to render out some large master files when the project is complete as well as means for archiving.
Of course for distribution, file sizes should be far more reasonable. There will be a 1080p BD compliant, HDR10 4K Bluray compliant, and smaller “streaming size” 1080p and 4K versions.
Workprints will most likely be in the smaller formats, until the sort of “final workprint”.
Been looking even further into both 4K monitors and televisions. My main focus seems to be on HDR and color gamut abilities. The new Asus PA32U arriving later this year looks the most promising so far.
-Optimized 384 zones direct-LED backlight matrix support and ASUS LED driving technology achieves 1 micro second operation for better HDR performance (1000 cd/m², peak)
-Quantum Dot tech. reproduces 85% of Rec.2020, 99.5% of Adobe RGB, 95% of DCI-P3 & 100% of sRGB color space
Having a full array backlight and a peak 1000 nits brightness is definitely a must if I really plan on going through with doing an HDR10 variant, and the color gamut range is equally impressive. That much of the Rec.2020 and DCI-P3 standards are what stand out most to me. From what I’m hearing it’ll be priced around $1600 which is not too bad considering these specs.
https://www.asus.com/Monitors/PA32U/
In terms of televisions, which I think would be in addition to getting a new monitor, I think I’m leaning best towards a 65 inch Samsung KS8000.
And yeah, I’ve started doing some work with the professional version of Video Artifact. I’m transitioning all my pre-grading source manipulation work to this. Already very impressed how much I can stretch the ability of the footage I shoot off my Sony NEX 5T with the program, and am excited to soon play around with some of the prequels blu-ray footage in it. Could also prove useful for the “Rogue One style” grade I plan to do with the ANH blu-ray.
I’ll hope to post some comparisons of what this can do with the material somewhat soon.
Sadly I’m lacking in any experience in terms of colorizing video, but I have done individual frames before…
I don’t know much about motion tracking, tho I assume if I just save my color values used, I could just do each frame from scratch (although I guess the unchanging backgrounds of shots with a still camera could just have color adjustments painted the same across frames.
I don’t have a SW example sitting around, but maybe I could try it sometime soon.
Here’s a test I did with an I Love Lucy still a couple months back. With SW tho, I could probably copy color values over from the other color scenes, so you might get more accurate and realistic colors.
A look at the toy box art for TLJ!
Just a thought here, but like if a 4K Blu-ray release does really come out, isn’t it going to be impossible to use it as a basis for any further fanedits or preservations?
Best of my knowledge, there’s no way to RIP a 4K disc yet, or at least ripping an exact copy of it.
In exciting updates to my hardware for this project, I will most likely be getting this television as an additonal display sometime this year (or waiting it out for the 2017 model) since I need something that would allow me to better futureproof this project, as in the possibility of doing an HDR variation (maybe even Dolby Vision) of this grade.
http://www.lg.com/us/tvs/lg-OLED55E6P-oled-4k-tv
Given the ways I reflatten and upsample the blu-ray source, it’s totally possible.
I’m serious about the 4K aspect as I’m skeptical about if they will put out 4K releases of these films like they may for the originals.
Given that the focus is more about color work, doing a 10 and/or 12 bit master would be quite unique.
JEDIT:
Although I have also been considering a Vizio P-series as well if I decide to not opt for OLED, which might be a wiser option since tv’s have yet to reach the REC.2020 standard, which would surely date out either tv. Also being a full array LED instead, it is lacking some kinks like banding issues OLED technology still has. Plus it’s $1800 cheaper which would make me comfortable purchasing sooner.
https://www.vizio.com/p-series
Either way having a calibrated large 4K 10 bit display would be a tremendous help to this project.
So I’ve kinda been thinking about resurrecting this project at least for ANH after having seen Rogue One. Since these earlier tests I’ve learned more methods for color and detail recovery I’ve needed on the prequel projects, as well as the full knowledge of Davinci Resolve which I’ve found to allow me the opportunity to produce far more refined grades.
Mainly I’m thinking about doing a sort of modernized grade of the ANH Blu-ray. It would have the enhanced detail, finer grain (a grain free look is probably best not to try to achieve), and trying to emulate the more dynamic lighting style of Rogue One.
Unlike with the prequels, I feel there’s enough consistency within the transfer to make at least the ANH product something far quicker to complete.
I’ll see about putting out a clip in a few months…I’m still waiting for the Rogue One blu-ray so I have a proper source for reference.