Hey, I'm happy if anyone does it. It is a *huge* amount of work to do, so if someone wants to do it, then I'm all for it. I have already bitten the bullet and done the 4K upgrade (who needs a car anyway).
The pfclean results are quite possibly just because the sample was heavily compressed to begin with.
Working in 8 bit space is not recommended as you only have 255 discreet steps, and rounding errors are a constant pain.But if your software can only handle 8 bit then I can ouput that. PFClean is designed to work in 16bpp.
I can output a .png stream, it will be about 350GB for a single pass of the film the film in 8bit @ roughly 1080P
It is easy to convert to anaglyph after it is done anyway.
Spaced Ranger said:
That is so awesome! And, of course, your results are way beyond the poor, faded source. A so-much-better starting point for this project! BTW, I think all our computer stuff is stuck at 8-bit R-G-B. Any suggestions of what you do to make use of all those extra colors? :)
BTW, what do you mean that all our computer stuff is stuck at 8bit R-G-B?
I always work in 10, 12 or 16bit for film work.
So what is the verdict, a straight scan (2nd red picture) or a scan with the RGB lighting varied per channel and a LUT applied to try and recover the colour (i.e. the third picture)?
Also, what format/codec etc. do you want it in? The files are going to be big.
Keep in mind that Reel1 has almost no colour information left, so it won't get anywhere near as good results as reel3.
That peter pan print is good value. Looks gorgeous.
Has anyone converted the Harmy releases to standard DVD? If so, how do they look?
There are plenty of books of Disney cels available too as a colour reference.
Cleanup looks good, I'd like to see it at full speed. I'm not seeing 13s on vimeo at 24fps though?
The whites were nowhere near as white as the older releases, I've seen a couple of original cells. Projection can blow out whites though. I haven't seen the newer versions, but the LD's in particular have the whites far too bright.
Remember too that the Bluray looks different when you project it to watching it on an LCD TV for instance.
40TB is no issue these days (and that is just for storage, not editing), but scanning is a real PITA, and not many people are used to working with 4K that haven't had to do it for a living. Even then a lot of work I used to do was delivered at 2K because 4K is so much more unwieldy to work with.
It isn't something you can do for a bit of fun, it requires real workstations, real dedication, a real workflow and a lack of other life :)
As for extending the range to the full width, one has to be careful doing that on any given scene. ''Paper White' on film is usually way below 255/255/255 (in 8bit space), for example the white of the Rabbit's fur or teeth. Extra headroom is left for whiter than white, the specular highlight on a chrome car bumper, the glistening specular highlights on water droplets, headlights pointed towards camera etc.
Usually a logarithmic gamma curve is used to get the information out.
You want to stretch the range, but not too far, otherwise it all ends up flat and lifeless with no dynamics, kind of like the 'loudness wars' on CD releases these days.
Remember these are all compressed 8 bit images, the capture happens in log12bit or 16bit linear, so you have a lot more control when colour correcting.
As the OP doesn't have extensive colour correction experience, I am trying to make the job as easy as possible by getting the colour range closer to the desired output at the capture phase, and eke as much colour in each channel out as possible.
With a RAW scan using a standard LUT for the film stock in question, you could *possibly* get a better result than with the modified LUT, but starting from a more difficult place. Plus sometimes adjustments can be done in the analogue domain that lead to results impossible to get once the image is digitised. I am just experimenting so am open to ideas on this.
Anyway, some examples of what is happening.
This is how the image looks projected. \/
This is what it looks like scanned using a LUT designed for that film stock, but expecting that the film has not faded. \/
This is how the film looks with individual lighting channel colour control and a modified LUT \/
I want to stress that this is how it comes out of the scanner, no 'post' processing has been done. If you then post process the image, I'm sure it can be improved greatly.
Yes, I have been discussing this recently. A script that took the first two frames from each scene change from a 2D capture and inserted them into a 3D capture would solve a lot of the worst of it.
Oh, and this is the worst Reel, Reel1, take no notice of the framing/focus etc. I'm just playing with individual channel lighting/gamma and a LUT to get as much colour during the scan as possible.
https://www.dropbox.com/s/l2dm2brwfax53o0/reela1.mp4
Download it as it doesn't play properly in dropbox.
Spaced Ranger said:
It still needs tweaking (pulling out the purple scarf and the green leaves is proving difficult as the graphs must remain smooth in the process). If Zip Doodah could post a 35mm grab (full-sized & raw) of a full color spectrum shot and then ww12345 post the same 16mm frame (again, full-sized & raw), that might just work for an overall color correction.
Those are looking promising. I decided to develop a new LUT for the capture process to try and get as much colour out of the faded print as possible, and someone asked to see the animation moving to see if there was any blending.
Attached is a quick scan using the new LUT and has some animation to take a look at. I will post a picture of how this looks projected as it just looks red when you thow it on the wall, but scanned with the LUT and independant control of the R, G and B light source allows some of the colour that is there to be captured. This hopefully will make any colour correction easier.
https://www.dropbox.com/s/t8eje9xtgmgf8qe/Reel3.mp4
Download it as it doesn't play properly in dropbox. This was scanned with the new LUT and just quickly downsized and compressed. This is not a raw scan, but apart from the Rez and the compression, this is the colour of the 'RAW' scan.
For some reason I read the title as 'Darth Becomes Her'.
I'd pay to see that version.
For capture of online stuff, a HDCP stripper (some HDMI splitters do this) and a PS3 and a Blackmagic capture box/capture card and you are on your way :)
The problem is with the optics of the beam splitter that is used to spilt the light to the 3 line array CCDs. It is different to CA technically, but presents the same, i.e. misregistration of colours.
AntcuFaalb said:
poita: What do you think of the ATI Theater 750 HD's 3D comb filter?
althor1138's samples don't show any of the 3D-comb-filter-artifacts I'm accustomed to seeing.
I wish we had a solution for the dynamic AGC problem...
Mine just keeps crashing the system with a BSOD under windows 7.
I installed 32 bit XP, it worked okay until I rebooted, now I get the BSOD again.
Every time I go to virtualdub and hit capture AVI it bombs out.
Can someone confirm if this is currently available on netflix?
I just bought the LD to transfer it if anyone is interested in another LD rip being done. I will see if it is available on any Australian streaming services.
Shhhhhhh!
No, the faces set is the same as the definitive edition discs. Nothing to do with the scans for the SE.
And Darth Lucas, the faces set, and all laserdiscs as far as I know have the Ep IV ANH crawl, not the 1976/1977 crawl.
I had a quote of 7000 british pounds to get a negative made from an IB print.
There are a few places that will do it, but that was the cheapest I had found.
It is still the case that when a cinema has oultasted its license to project a film that the print is often destroyed. There is a beautiful IB print of apocalypse now sitting at a cinema in QLD Australia, and their license to show it has run out, and the film company has asked them to destroy the print.
