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Forums Apple Final Cut Pro Legacy color enhancement software

  • color enhancement software

  • Rick Neely

    December 31, 2009 at 2:08 pm

    Hey guys,

    Happy New year! quick question that may NOT be a an FCP one, but since I’m editing on that platform, it would be most convenient. I have telecined some vintage faded 16mm film and obviously the pigments have worn to the point that it’s mostly ‘red’looking. According to wikipedia–

    “Over a period of many decades, the pigments in color 16 mm film slowly degrade and become transparent. The pigments degrade at different rates with red being the longest-lasting. This inevitably results in color film that now appears to be reddish, with few other colors.

    In the process of digitizing old film into a modern digital movie format, the faded film can sometimes be restored to full color with the use of DIGITAL COLOR ENHANCEMENT METHODS that amplify the faded pigment colors, but do not amplify the red pigments.”

    It is this last statement that I ask all of you, do you know any good software plugins, color correction tutorials, or software (mac, please) that would perform this enhancement need? Money’s kinda tight so anything high-end is probably out of the question for me, but suggestions are welcome. thanks in advance.

    Rick

  • Bjarki Gudjonsson

    December 31, 2009 at 2:22 pm

    Have you tried working with it in Color? What format do you have it in?

    Regards,
    Bjarki

  • Rick Neely

    December 31, 2009 at 2:42 pm

    Haven’t upgraded to Color yet,

    Currently, it’s in standard DV or DV50. Is there a good tutorial for doing this?

    thanks.

    rick

  • walter biscardi

    December 31, 2009 at 2:43 pm

    Apple Color is the former $25,000 Final Touch 2k software. It’s about as good a color enhancement software you can get on the market, especially since it’s included in the Final Cut Studio package.

    We have a forum here on the Cow, Tutorials here on the Cow and I have an introductory DVD to get you started in Color also sold here on the Cow. Link is in my signature.

    Walter Biscardi, Jr.
    Editor, Colorist, Director, Writer, Consultant, Author.
    HD Post and Production
    Biscardi Creative Media

    “Foul Water, Fiery Serpent” now in Post.

    Creative Cow Forum Host:
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  • walter biscardi

    December 31, 2009 at 2:48 pm

    [Rick Neely] “Currently, it’s in standard DV or DV50. Is there a good tutorial for doing this?”

    Format doesn’t matter. You just use the color enhancement to bring out the colors. In FCP you have the 3 Way Color Correction tool. You can purchase Colorista from Red Giant which is an enhanced version of the 3 Way CC.

    Or just use Color which is free.

    Walter Biscardi, Jr.
    Editor, Colorist, Director, Writer, Consultant, Author.
    HD Post and Production
    Biscardi Creative Media

    “Foul Water, Fiery Serpent” now in Post.

    Creative Cow Forum Host:
    Apple Final Cut Pro, Apple Motion, Apple Color, AJA Kona, Business & Marketing, Maxx Digital.

    Blog!

    Twitter!

  • Bouke Vahl

    December 31, 2009 at 3:01 pm

    [walter biscardi]
    Format doesn’t matter.”

    Hmm.
    Since DV has half the color resolution of DV50, and the color is weak already, i would say it makes a HUGE difference to use a 422 codec, not?

    Bouke

    https://www.videotoolshed.com/
    smart tools for video pro’s

  • Rick Neely

    December 31, 2009 at 3:19 pm

    thank you for the help guys,

    I’ve ordered the FCS3 upgrade and will give Color a shot. I don’t think my client is all that adamant on the color correction. I think they are just thrilled the the film hadn’t broken up when run thru my system. It actually went very smooth, but I do get a fair share of these ‘reddish’ looking films and wanted to see how I can improve.

    I am using DV50 and could render via 422 codec, but the final output is to DVCam so I’m not to worried about dealing with DV codec.

    Happy New Year!

    Rick

  • walter biscardi

    December 31, 2009 at 3:20 pm

    [Bouke Vahl] “Hmm.
    Since DV has half the color resolution of DV50, and the color is weak already, i would say it makes a HUGE difference to use a 422 codec, not?”

    I mean, for color enhancement software, it doesn’t matter what the format is in terms of that.

    ProRes or any other 422 codec is better for color enhancement only if you’re going to stay in an uncompressed format for mastering. If you’re going back to DV tape, then no, stay in DV.

    Walter Biscardi, Jr.
    Editor, Colorist, Director, Writer, Consultant, Author.
    HD Post and Production
    Biscardi Creative Media

    “Foul Water, Fiery Serpent” now in Post.

    Creative Cow Forum Host:
    Apple Final Cut Pro, Apple Motion, Apple Color, AJA Kona, Business & Marketing, Maxx Digital.

    Blog!

    Twitter!

  • Bouke Vahl

    December 31, 2009 at 3:31 pm

    [walter biscardi]
    ProRes or any other 422 codec is better for color enhancement only if you’re going to stay in an uncompressed format for mastering. If you’re going back to DV tape, then no, stay in DV.”

    Walter,
    I respectfully disagree.
    Few reasons:
    Probably every project like this ends up on DVD as well.
    DV to MpegII is not as good as from a 422 codec.
    And having high quality stuff to start with will always yield a better end result.
    But i’m about to start drinking my way into the new year and do not feel we’re going to find consensus this year.

    So a happy 2010!

    Bouke

    https://www.videotoolshed.com/
    smart tools for video pro’s

  • walter biscardi

    December 31, 2009 at 3:42 pm

    [Bouke Vahl] “Probably every project like this ends up on DVD as well.
    DV to MpegII is not as good as from a 422 codec.”

    That’s a big assumption to make. We rarely create a DVD from a project except for a client review. Most of our projects are mastered to tape.

    If you have DV project that is going to mastered back to DV or DVCAM tape, you gain nothing going to ProRes and in fact you add another layer of 5:1 DV compression when you go to tape so you end up with a more highly compressed image than if you had stayed in a DV timeline.

    Walter Biscardi, Jr.
    Editor, Colorist, Director, Writer, Consultant, Author.
    HD Post and Production
    Biscardi Creative Media

    “Foul Water, Fiery Serpent” now in Post.

    Creative Cow Forum Host:
    Apple Final Cut Pro, Apple Motion, Apple Color, AJA Kona, Business & Marketing, Maxx Digital.

    Blog!

    Twitter!

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