Nice job on those, there is a lot of noise on the negative. It’s probably because the film sat around in the heat for several months before I finally sent it in for processing. I think Shake is like Photoshop for movies. In fact you can load .psd files right into shake and work on the different layers. I have been on several Shake user sites and there are several free filters and scripts available for color correcting film. Shake also supports LUT "look up tables" so you could simplify the negative to positive process if you have the right ones for your film.
Regards,
Paul Cotto
Scotness wrote:Here's a still from my current go at it - far from complete, but I'llhave to try more tomorrow (runningout of time now).
It's quite a challenging clip - knowing what to adjust it to is part of the problem - i take it it's late afternoon, early evening. I want to get it dark enough so those neon lights can glow, but not too dark as it's aboviously not fully night time yet.
I took it to virtualdub - saved it as a bmp sequence and then put it into photoshop - following what's above, more or less. I found a slightly better result by working on the rgb channel first in levels nd pulling the right slider over to where the histogram is and then adjusting the contrast with the middle slider - all before I did each seperate channel. I also cropped it to remove the frame edge soit wouldn't show up in the rgb data in the historam.
There's alot of noise in the image - is that due to the capture?
Anyway I'll keep working on it - any one else giving it a go - I'll post the final clip when i've got the best result I can.
Here's a possibly better version with a bit more fiddling of the straight color balance sliders and the red levels control - flipped the right way too.
Scot
Don't worry about equipment so much and make your movie!
I found a good article here outlining some of the issues in scanning film - especially negative - I think the key is to have high bit rate (much higher than 8 bit colour) and high dynamic range so the blacks can be seen into with a high signal to noise ratio and thus no noise - or what I'm assuming Roger is referring to as contamination.
The best I can do right now is 10 bit uncompressed with the blackmagic decklink SDI. I have a film scanner for 35mm roll film that can do long rolls by automatically transporting the film to the next frame. I wish it were possible to modify it to do 8mm or 16mm film rolls but it would take some real ingenuity to make that happen. For now this is as good as it gets for my home telecine. There are 30 bit cameras out, but they are beyond my means.
Regards,
Paul Cotto
Scotness wrote:I found a good article here outlining some of the issues in scanning film - especially negative - I think the key is to have high bit rate (much higher than 8 bit colour) and high dynamic range so the blacks can be seen into with a high signal to noise ratio and thus no noise - or what I'm assuming Roger is referring to as contamination.
Scot, what is your original negative stock there?There are some stocks that really saturate greens and reds like 7245.Is that what you have there?It kinda has that Kodachrome saturation '45 is known for.
paulcotto wrote:The best I can do right now is 10 bit uncompressed with the blackmagic decklink SDI. I have a film scanner for 35mm roll film that can do long rolls by automatically transporting the film to the next frame. I wish it were possible to modify it to do 8mm or 16mm film rolls but it would take some real ingenuity to make that happen. For now this is as good as it gets for my home telecine. There are 30 bit cameras out, but they are beyond my means.
Still that's nothing to sneeze at - I wonder if it would be possible to hack open a film scanner and rig up it's internal high bit rate camera and controller mechanism/computer interface to a workprinter like telecine unit? It could be expensive if you didn't know what you were doing. The other alternative I guess is to do multiple passes at different exposures and combine the results for example in Photoshop CS - like in the example below - and thus simulate a higher dynamic range.
jaxshooter wrote:Scot, what is your original negative stock there?There are some stocks that really saturate greens and reds like 7245.Is that what you have there?It kinda has that Kodachrome saturation '45 is known for.
It's actually Paul's - I think he said it was 200T -- or are you talking about the one right at the beginning of the thread - the girl with the guitar - I don't know what that is - I got it off the net.
Scot
Read my science fiction novel The Forest of Life at https://www.amazon.com/gp/product/B01D38AV4K
It's very similar to image stacking done by astrophotographers. There is a program called registax that automates the process. I often wondered if I could set up a frame by frame telecine to do 3 exposures per frame, bracketing exposure and use registaxto buld an avi from them.
paulcotto wrote:The best I can do right now is 10 bit uncompressed with the blackmagic decklink SDI. I have a film scanner for 35mm roll film that can do long rolls by automatically transporting the film to the next frame. I wish it were possible to modify it to do 8mm or 16mm film rolls but it would take some real ingenuity to make that happen. For now this is as good as it gets for my home telecine. There are 30 bit cameras out, but they are beyond my means.
Still that's nothing to sneeze at - I wonder if it would be possible to hack open a film scanner and rig up it's internal high bit rate camera and controller mechanism/computer interface to a workprinter like telecine unit? It could be expensive if you didn't know what you were doing. The other alternative I guess is to do multiple passes at different exposures and combine the results for example in Photoshop CS - like in the example below - and thus simulate a higher dynamic range.
jaxshooter wrote:Scot, what is your original negative stock there?There are some stocks that really saturate greens and reds like 7245.Is that what you have there?It kinda has that Kodachrome saturation '45 is known for.
It's actually Paul's - I think he said it was 200T -- or are you talking about the one right at the beginning of the thread - the girl with the guitar - I don't know what that is - I got it off the net.
Scot
Don't worry about equipment so much and make your movie!
Did anyone save this entire thread? You'll notice the images are mising at the start - and I've lost or deleted them somewhere along the line - did anyone that thought this thread was a good tutorial save it? - if so could you email me the graphics - or just PM me.
thanks
Scot
Read my science fiction novel The Forest of Life at https://www.amazon.com/gp/product/B01D38AV4K
