I think he's already GOT film. I think the film look plug in is for making native videotape look more like film.

I'm not suggesting he use the video to film pulldown. I agree that would be pointless for footage that originated on film. However, some of the curves and levels presets in the Film Look plugin do a good job of increasing saturation, deepening blacks, etc. I would think this would help with restoring washed-out film, as well.

The presets are also just a good place to start looking at Color Curves.

You can save custom color curves you make and that new curve gets added to the preset list from which you can use it again just like the other presets. I've made dozens. A good starting point is varations on the "S" curve.

1. Drag and drop the filter on the timeline over the event you're adjusting.

2. In the little slot above the color corrector workspace where it says preset give the filter you just made a name. Click on the floopy icon to the right to save it.

3. Click on the tiny arrow that points down to see all the preset and you should see the one you just made added to the list.

3. Go back to the video FX tab, select, your preset should be there will all the others. You can now drag and drop the custom filter you just made like any of the built-in presets.

BillyBoy's tutorials were great, have now dived in, and hit a snag right off the bat: how to get a white shirt to look white in Vegas? Have tried everything, color curves, threshold, you name it. I know it can be done, since I have a frame from the same clip that looks beautiful done with autocorrect feature in Adobe Elements. There always seems to be a pinkish or yellowish cast in the Vegas image. I did scopes on both, and the Elements image has less red, more blue, and much broader distribution for RBG.

You might try the white balance trick I described in this thread:

White Balance Trick

John

Tried it but in my hands Vegas can not touch Adobe Elements for color correction--big disappointment!

Having transferred a lot of 8mm and silent 16, the only problem I see in using presets is that the color "profiles" of these amateur films changes with almost every reel that was run through the camera. Improper use of filters, improper developing, and the effects of age all contribute to color problems.

While it may be too late to suggest it, if you have a camcorder with manual controls, you can work issues like white balance during capture.

Also remember that video has about half the contrast range of film, so it can be difficult to capture details of lighting faithfully.

Thanks, I have been adjusting the exposure on my GL2 with the exposure lock button, going all over the place as the film moves thru, using the 95 IRE zebra setting, keeping it one stop below the zebras...while transferring with the Workprinter.

Meanwhile, am much encouraged by exploration of color curves together with RGB Parade, and the Adobe Elements model image: it's great. Am moving around the R G B with different points on the color curves, and it's working, got some nice whites, got really good color correction. Had tried using the waveform, may go back to it, but this is great! It really does give much more control than the color corrector, but that's going to be useful too. Got to experiment a lot more.

bunyabunya,
WorkPrinter - Nice Unit..... I use one of Roger's CineMate Models for the 8mm and a modified Revere for the Silent 16.