rawskull
07-02-2005, 08:57 AM
Hi Tantriks !
<br />
<br />i found this interesting link which put me in a different position as a
<br />compositor !
<br />
<br />i know its a thankless job ! but the kik one gets out of image
<br />manuplation is adictive.
<br />
<br />here you go please gothrough the whole post and links its worth it !
<br />
<br />i have attached the links for the Qt explaining the process and also
<br />the
<br />article below !
<br />
<br />thanx
<br />
<br />rawskull
<br />
<br />2 STRIP MOVIE
<br />http://www.aviatorvfx.com/video/480/2-
<br />strip_technicolor_process_lg.mov
<br />
<br />
<br />3 STRIP MOVIE
<br />http://www.aviatorvfx.com/video/480/3-
<br />strip_technicolor_process_lg.mov
<br />
<br />
<br />
<br />2 STRIP AND 3 STRIP TECHNICOLOR LOOK:
<br />
<br />
<br />Martin Scorsese wished this film to represent the state of the art
<br />color
<br />technology of the da in which the story was taking place. From 1927
<br />-1934
<br />both in Hollywood and the chronology o this story Two Strip
<br />Technicolor was
<br />the only color process available.
<br />
<br />
<br />In short, natural skin tone was achieved by filming two black and
<br />white
<br />strips of film (with a red and green filter on the lens) and later adding
<br />Yellow dye to the resulting Cyan and Magenta printing matrices. The
<br />yellow
<br />dye makes up for the lack of yellow color found in skin tone pigment
<br />but
<br />ultimately can not reproduce yellow or any shade or variation of blue
<br />(as a
<br />result of the missing blue layer.) The resulting matrices appear
<br />orange and
<br />a warmer version of cyan more than the normal magenta and cyan
<br />found in the
<br />later three color process. This look creates an odd but pleasing
<br />hand-painted look where faces appear normal and green takes on a
<br />blue-green
<br />quality while the sky and all things blue appear cyan. (See
<br />photographs on
<br />page 10)
<br />
<br />
<br />The post 1934 color treatment became the 3 Strip Technicolor look
<br />created
<br />(see photographs on page 10) by imitating the quality the red, green
<br />and
<br />blue layers have when originally photographed in black and white
<br />with the
<br />very discerning Technicolor deep red, green and blue filters on the
<br />camera
<br />lens. Our less discerning modern monopack films create crosstalk
<br />between the
<br />layers and cannot totally reproduce the pure primary colors the less
<br />flexible Technicolor method could afford. By digitally re-filtering the
<br />layers using a version of a primary color matte it helped remove this
<br />inherent crosstalk. If you picture a density matte of the blue areas of
<br />the
<br />film only (grey in the blue area and white in the non blue) then
<br />multiplied
<br />it with the red and green layers the blue areas of those layers would
<br />get
<br />darker. The darker that area is, the less red and green colors are
<br />allowed
<br />to be printed through. For example, a blue sky becomes bluer if
<br />there is
<br />more density in the sky area of the red and green layers allowing
<br />less of
<br />those colors to print through.
<br />
<br />
<br />IMPLEMENTATION:
<br />
<br />
<br />This multilayered matte strategy was constructed in After Effects and
<br />produced a generic "Technicolor Filter" that could be applied to any
<br />image
<br />including a multicolored chip chart. This chip chart produced the basis
<br />of a
<br />3D LUT by comparing each color before the "Technicolor filter" and
<br />after.
<br />This LUT was produced by Josh Pines of Technique (Technicolor's
<br />Digital
<br />Intermediate Division) and was used after the Da Vinci color
<br />corrector and
<br />before the Christie 2K projector to view the results in real time. This
<br />LUT
<br />was later converted and baked into the resulting Cineon files and
<br />filmed
<br />out. The hardware and software versions of the LUT were identical
<br />and every
<br />frame of the film was treated based on chronology with either the 2
<br />or 3
<br />Strip look.
<br />
<br />TUTORIAL LINK FOR SHAKE AND DIGITAl FUSION :
<br />
<br />SHAKE + DF
<br />
<br /><a href="http://www.vfxtalk.com/forum/showthread.php?t=3515" target="_blank">SHAKE
<br />+ DF</a>
<br />
<br />
<br />SHAKE
<br />
<br />http://www.creativecow.net/forum/read_post.php?
<br />postid=110733994140109&forumid=154<edited><editID>rawskull</editID><editDate>38389.9933680556</editDate></edited>
<br />
<br />i found this interesting link which put me in a different position as a
<br />compositor !
<br />
<br />i know its a thankless job ! but the kik one gets out of image
<br />manuplation is adictive.
<br />
<br />here you go please gothrough the whole post and links its worth it !
<br />
<br />i have attached the links for the Qt explaining the process and also
<br />the
<br />article below !
<br />
<br />thanx
<br />
<br />rawskull
<br />
<br />2 STRIP MOVIE
<br />http://www.aviatorvfx.com/video/480/2-
<br />strip_technicolor_process_lg.mov
<br />
<br />
<br />3 STRIP MOVIE
<br />http://www.aviatorvfx.com/video/480/3-
<br />strip_technicolor_process_lg.mov
<br />
<br />
<br />
<br />2 STRIP AND 3 STRIP TECHNICOLOR LOOK:
<br />
<br />
<br />Martin Scorsese wished this film to represent the state of the art
<br />color
<br />technology of the da in which the story was taking place. From 1927
<br />-1934
<br />both in Hollywood and the chronology o this story Two Strip
<br />Technicolor was
<br />the only color process available.
<br />
<br />
<br />In short, natural skin tone was achieved by filming two black and
<br />white
<br />strips of film (with a red and green filter on the lens) and later adding
<br />Yellow dye to the resulting Cyan and Magenta printing matrices. The
<br />yellow
<br />dye makes up for the lack of yellow color found in skin tone pigment
<br />but
<br />ultimately can not reproduce yellow or any shade or variation of blue
<br />(as a
<br />result of the missing blue layer.) The resulting matrices appear
<br />orange and
<br />a warmer version of cyan more than the normal magenta and cyan
<br />found in the
<br />later three color process. This look creates an odd but pleasing
<br />hand-painted look where faces appear normal and green takes on a
<br />blue-green
<br />quality while the sky and all things blue appear cyan. (See
<br />photographs on
<br />page 10)
<br />
<br />
<br />The post 1934 color treatment became the 3 Strip Technicolor look
<br />created
<br />(see photographs on page 10) by imitating the quality the red, green
<br />and
<br />blue layers have when originally photographed in black and white
<br />with the
<br />very discerning Technicolor deep red, green and blue filters on the
<br />camera
<br />lens. Our less discerning modern monopack films create crosstalk
<br />between the
<br />layers and cannot totally reproduce the pure primary colors the less
<br />flexible Technicolor method could afford. By digitally re-filtering the
<br />layers using a version of a primary color matte it helped remove this
<br />inherent crosstalk. If you picture a density matte of the blue areas of
<br />the
<br />film only (grey in the blue area and white in the non blue) then
<br />multiplied
<br />it with the red and green layers the blue areas of those layers would
<br />get
<br />darker. The darker that area is, the less red and green colors are
<br />allowed
<br />to be printed through. For example, a blue sky becomes bluer if
<br />there is
<br />more density in the sky area of the red and green layers allowing
<br />less of
<br />those colors to print through.
<br />
<br />
<br />IMPLEMENTATION:
<br />
<br />
<br />This multilayered matte strategy was constructed in After Effects and
<br />produced a generic "Technicolor Filter" that could be applied to any
<br />image
<br />including a multicolored chip chart. This chip chart produced the basis
<br />of a
<br />3D LUT by comparing each color before the "Technicolor filter" and
<br />after.
<br />This LUT was produced by Josh Pines of Technique (Technicolor's
<br />Digital
<br />Intermediate Division) and was used after the Da Vinci color
<br />corrector and
<br />before the Christie 2K projector to view the results in real time. This
<br />LUT
<br />was later converted and baked into the resulting Cineon files and
<br />filmed
<br />out. The hardware and software versions of the LUT were identical
<br />and every
<br />frame of the film was treated based on chronology with either the 2
<br />or 3
<br />Strip look.
<br />
<br />TUTORIAL LINK FOR SHAKE AND DIGITAl FUSION :
<br />
<br />SHAKE + DF
<br />
<br /><a href="http://www.vfxtalk.com/forum/showthread.php?t=3515" target="_blank">SHAKE
<br />+ DF</a>
<br />
<br />
<br />SHAKE
<br />
<br />http://www.creativecow.net/forum/read_post.php?
<br />postid=110733994140109&forumid=154<edited><editID>rawskull</editID><editDate>38389.9933680556</editDate></edited>