Color Correcting Technique?

Ohm wrote on 5/3/2005, 12:53 PM

I am converting 8mm film to digital using a "Work Printer Jr." to capture and "DodCap/CineCap v1.36 beta for pull-down". Each reel is about 200 ft (76.2m) and takes about 6 hours, so I let it operate unattended, after making camera settings. Each reel was spliced together from smaller reels in a hodge-podge manner over 50 years ago. Some sections are of very good quality, others are pretty bad.

While I have a pretty good handle on using many Vegas 5 features, I would really like some guidance on technique concerning color correction. For example which color tools do you use most often, and in what order do you use them for the best work flow, and results. Which color tools do you generally not use, if any?

Thanks.

Comments

Jay Gladwell wrote on 5/3/2005, 1:01 PM

Check out Bill's tutorial here.

Ohm wrote on 5/3/2005, 5:44 PM

Okay, thanks a lot. Haven't studied all of the turtorials, but just cruising through them, I should be able to develop a stratagy to get me where I want to be.

Very nice website

johnmeyer wrote on 5/3/2005, 6:25 PM

I too use the Workprinter (the original version that takes a frame at a time). As far as color correction, there are several things specific to the Workprinter film transfer that are not covered in BB's excellent tutorials.

1. Expose for the highlights. If you have a "spotlight" mode (Sony cameras), use it. You need to have something that keeps the white shirts and bright skys from blowing out. Unfortunately, even the spotlight mode (designed to keep people in a follow spot on stage from turning totally white) doesn't reduce the exposure enough. Often, the only solution is to watch the footage as it is being captured, and manually ride the exposure (remember to turn it back up when the next scene starts).

2. Bring the shadows back up (if you've lowered the exposure to avoid losing the highlights) using the Vegas Color Corrector or Color Curves. I find I get better control with the Color Curves and can often create a curve that "matches" the film gamma.

3. Do a white balance before you begin your capture and then lock the balance. If you use auto white balance, it will "hunt" from scene to scene. You can white balance on the bare bulb (no film in the gate) or on a white leader. I like the bare bulb balance better.

4. Of course, don't forget to turn off auto-focus and stabilization. This has nothing to do with color correction, but it will definitely improve the results.

Ohm wrote on 5/3/2005, 10:59 PM

This is great information. I never would have thought to try the "spot light" feature. I will try that on a run tonight. And I need to make sure the anti-jitter is off, as you suggest, and white balance is also something that I have overlooked.

I'm glad that I got the WorkPinter. Mine also captures one frame at a time. I've had it for over a year, but every time I've tried to use it, some other task would take priorty. I have some unexpected free time, and I don't want to waste this oportunity.

I agree that BB's site is excellent. He has deffinetly put in a lot of time and effort.

Thanks a lot for the tips and the time to post them.