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In progress True Lies - open matte, film regraded
#81
(2018-02-08, 05:46 PM)PDB Wrote: That's how I do it. Shot-by-shot color correction. Thousands and thousands of corrections. It's liberating, give it a try sometime spoRv Wink

Now I'm focused on AAP-AR projects, and I don't know if I would patient enough to make a shot-by-shot correction - even if, when I think I made HP7 and set 700+ cropped shots by hand, well... maybe I could be crazy enough! Big Grin
Fundamental collection thread | Vimeo channel | My personal blog
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#82
(2018-02-08, 05:26 PM)Beber Wrote: That would still be a lot faster than a shot-by-shot color correction, right?

Yeah, if the masters allow for that (by not having too many variations from shot to shot).
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#83
Da Vinci Resolve (free) has an automatic shot detect that recuts the whole film at shots changing points.
If you have two sources, it's a matter of auto cutting them, place them on top of one another in the timeline, and color matching each shot (no matter if the framing is different, it matches automatically all the correct colors).

I think this could be much better than anything tried so far, the only thing to make it simpler would be finding a way to auto match all the shots at once instead of one by one. Then conforming colors would be a matter of a couple of hours for one film.
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#84
(2018-02-08, 04:40 PM)spoRv Wrote: OK, I deleted the actual lossless file, and I'll work on it again in the near future; this time I'll follow the feedbacks, hoping to get a better result - we'll see! Big Grin

I watched it again last night to check my subs, and I reduced the brightness by 12% to get actual blacks, and it looked better. The most obvious blue artefacts in dark areas were still visible, but overall, the others were drowned in the blacks. That still doesn't correct the destructed 10 seconds at the beginning of the final ballroom scene, though. Maybe, for this section, you could try the 3D LUT technique PDB and Tomarrow use, by selecting a few shots from the rest of the scene to match the mood and colors to those 10 seconds. I don't understand what happened that ruined the definition in this part. Also, it would be better to fix the blown out/clipped (you name it) whites that make the film look too rough if the intent is to have a HD video faithfull to the theatrical color timing for lack of Blu-ray.
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#85
(2018-02-10, 03:07 PM)Beber Wrote:
(2018-02-08, 04:40 PM)spoRv Wrote: OK, I deleted the actual lossless file, and I'll work on it again in the near future; this time I'll follow the feedbacks, hoping to get a better result - we'll see! Big Grin

I watched it again last night to check my subs, and I reduced the brightness by 12% to get actual blacks, and it looked better. The most obvious blue artefacts in dark areas were still visible, but overall, the others were drowned in the blacks. That still doesn't correct the destructed 10 seconds at the beginning of the final ballroom scene, though. Maybe, for this section, you could try the 3D LUT technique PDB and Tomarrow use, by selecting a few shots from the rest of the scene to match the mood and colors to those 10 seconds. I don't understand what happened that ruined the definition in this part. Also, it would be better to fix the blown out/clipped (you name it) whites that make the film look too rough if the intent is to have a HD video faithfull to the theatrical color timing for lack of Blu-ray.

What he could also do to get to the 3D LUT quicker is to apply the color correction he uses in the surrounding scenes to this: http://www.quelsolaar.com/technology/Hal...entity.png

It's a HALD CLUT. Contains all possible colors in 8-bit color space or something like that. In short, apply any color manipulations you want to this (make sure you use 4:4:4 though) and you can generate a 3D LUT straight out of it and use it for the other scenes too. (does not work for tonemapping because tonemapping also has a spatial component that cannot be predicted from purely the source colour and thus not represented with a 3D LUT, same applies for my method too, though).
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#86
I've examined the last script I used (I tested so many that I simply forgot what I have used! Big Grin ) and discovered what could have gone wrong... I've used one script for the luma (to retain film contrast), and another for chroma; so, the interactions between them could have caused the artefacts - quite surely the not-pitch-black blacks; the blue artefacts *should* be a consequence of the previous, combined with my attempt to get rid of the residual magenta blanket.

In the new attemps, I'd use the open matte luma, tweaked to be similar to film (but not too much, ok! Wink ) and the same script for the chroma; this *should* prevent those artefacts. Said so, for the chroma of the ballroom I'd tweak the original open matte one (for the whole scene, for continuity sake), without using the film as direct reference, but only as "inspiration"; this should avoid the problems.

But first, I'd finish another (gasp!) project; it involves a not-digitally-maked-up tough girl who should defeat not-completely-dead people in an underground facility; it would be - hopely - the first complete AAP-AR movie using "only" two sources (just because the OAR/IAR was 1.85:1)...
Fundamental collection thread | Vimeo channel | My personal blog
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