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James Mangold's "THE WOLVERINE" - A Silver Screen Samurai Restoration

Silver Screen Samurai said:
Digital purposely shoots "basic/bland" upfront so that colorists have enough color data to work with when correcting then grading a film.
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Just a quick question: would the same color correction workflow apply (for fanediting purposes) if one's source is an older film shot on celluloid, or is it primarily intended for films natively shot on digital?
 
Silver Screen Samurai said:
2/24/22 - UPDATE #2:
Created a little text-opener, akin to Criterion/Keno Restorations.
What do you guys think of it?

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Honestly, I like this as is. It gets your intentions out there and up front. If you were to do anything different, I'd agree with your idea earlier, which is to take the audio of the actual quote and present that. Might be cool to do that with some storyboard images or comic book images.
 
@spence @DigModiFicaTion @addiesin
Hey guys! I went back and added pictures of what usually happens when you skip the white-balancing step...
Hopefully showing those autopsy pictures is now more informative. Also, I replaced the original picture of the "Restoration Grade" with a more extreme/pronounced example of a "correct" grade, and also switched out the White-Balanced image (I realized it would be more informative to show it with the gamma turned up more, even if that shot is dark enough that it doesn't need it; since that's what you usually want to do when White-Balancing anyway).
 
Dwight Fry said:
Just a quick question: would the same color correction workflow apply (for fanediting purposes) if one's source is an older film shot on celluloid, or is it primarily intended for films natively shot on digital?
Click to expand...
Okay, it's a bit complex...

SHORT ANSWER:
Yes (for you)

DETAILED ANSWER:
Back when there were ONLY film projectors, it was technically impossible for footage to "clip" per say; it could still be too bright, but colors could't go into the "illegal-zone" (because natural light doesn't have an "illegal-zone"). Film projectors just shine a bright light through transparent celluloid, so the colors will always look the same when projected (now for old TV-Broadcasts of movies? They would actually project the movie onto a wall... then record the wall with a camera, lol 😂). So they'd skip "correcting" (didn't exist yet) and "regrade" the footage physically, aka Photochemically; essentially soak it in different tints with liquid paint dyes.

But, once digital projectors were invented, they had to convert them from CELLULOID prints to DIGITAL prints. Once it's a Digital print, you do actually have to White Balance it before grading it. They do that for all Digital/Disc releases of a movie shot on film, because it's not a celluloid print anymore... it's now a Digital print. Even new movies shot on film do it this way now; because while they may be shot on film, they're probably edited and graded in a computer. To do that, you have to transfer it from Celluloid to Digital, thus necessitating White-Balanced "correction" before artistic "grading."

If you were working straight from a CELLULOID print? And you were going to do it Photochemically (not in a computer, physical)? Then no, you wouldn't have to do this. But you're probably going to be working from a DIGITAL print when you do this, which you MKV'd from a disc. So yes... you will still have to do this if you want to regrade a celluloid film, because you'll be working with a digital print of it (not a physical/celluloid one).

Hope this helps!
Happy editing 👍
 
Silver Screen Samurai said:
@spence @DigModiFicaTion @addiesin
Hey guys! I went back and added pictures of what usually happens when you skip the white-balancing step...
Hopefully showing those autopsy pictures is now more informative. Also, I replaced the original picture of the "Restoration Grade" with a more extreme/pronounced example of a "correct" grade, and also switched out the White-Balanced image (I realized it would be more informative to show it with the gamma turned up more, even if that shot is dark enough that it doesn't need it; since that's what you usually want to do when White-Balancing anyway).
Click to expand...

It's much more clear now. I know it hurts doing it wrong on purpose even for demonstration, but thanks for revisiting it!
 
Some really great information there. Thanks Samurai.
How’s the edit coming along? 😉
 
Canon Editor said:
Some really great information there. Thanks Samurai.
How’s the edit coming along? 😉
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PROGRESS UPDATE (2/25/22):
After several pain inducing attempts, I've finally managed to handbrake a workprint of the theatrical cut
(basically, handbrake crashed a three seperate times and I had to start over, today for no particular reason 😂).

So I'll soon be adding back scenes that are ONLY in the theatrical cut...
...and then maybe it's time for some previews? 👀
 
I will happily preview as well.
 
Silver Screen Samurai said:
PROGRESS UPDATE (2/25/22):
After several pain inducing attempts, I've finally managed to handbrake a workprint of the theatrical cut
(basically, handbrake crashed a three seperate times and I had to start over, today for no particular reason 😂).

So I'll soon be adding back scenes that are ONLY in the theatrical cut...
...and then maybe it's time for some previews? 👀
Click to expand...
You may want to try a different work flow to build a source file as handbrake results in a recompressed lossy file.
Many here use MakeMKV and aviDemux to create 1:1 lossless sources. It also takes a lot less time to create the source file.
 
DigModiFicaTion said:
You may want to try a different work flow to build a source file as handbrake results in a recompressed lossy file.
Many here use MakeMKV and aviDemux to create 1:1 lossless sources. It also takes a lot less time to create the source file.
Click to expand...
Thanks @DigModiFicaTion! I only use Handbrake for the workprint (MP4), then switch out the file with a better one at the end;
Basically I use MakeMKV to rip, then use handbrake to get a file that Davinci Resolve can actually edit
(mainly to keep the processor healthy, and also because Davinci Resolve can't work with raw MKVs)
 
asterixsmeagol said:
Is white balancing something that can be done only using the graphs of levels?
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Yes, in fact this is actually primarily how it's done; if you have an RGB histogram monitor turned on, you can actually see what the reds/blues/greens look like in comparison to one another. What you want is for the top of each one to be the same, the bottom of each one to be the same, and the gamma (how spread out they are) to be the same for each one... and NONE GOING OVER OR BELOW THE LINE.


Like this; you can see the top line (Max Gain) is the same value on all three, the bottom line (Lift/Offset) is the same for all of them, and how spread out they are (Gamma) is the same for all of them; like, none of them's middle is lower/higher than the other, ect. You'll want to individually adjust Gain and Offset/Lift until the tops and bottoms are the same, then you'll want to individually adjust gamma to be the same (and you'll want that gamma spread out, not squished at one end).

And also, Christopher Nolan -- one of the greatest filmmakers of all time -- is red/blue colorblind. You can do it 👍
 
Silver Screen Samurai said:
Yes, in fact this is actually primarily how it's done; if you have an RGB histogram monitor turned on, you can actually see what the reds/blues/greens look like in comparison to one another. What you want is for the top of each one to be the same, the bottom of each one to be the same, and the gamma (how spread out they are) to be the same for each one... and NONE GOING OVER OR BELOW THE LINE.
Click to expand...
When you put it that way it looks remarkably similar to digital audio. That I can manage.

Are histogram monitors usually already in NLEs or are they usually paid plugins? Do you recommend one over the other? Or a third party freeware option? I see premiere has something like that but not sure if it's the same.
 
addiesin said:
Are histogram monitors usually already in NLEs or are they usually paid plugins?
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Generally RGB histograms can be found in most NLEs without paid plugins, but obviously it depends on the NLE.
The free version of Davinci Resolve, which has by far the most sophisticated color-correction software in the world, already has all these tools and the RGB histogram. High end professional softwares that cost money (ie Avid/Premiere) usually have the histogram, but with slightly less sophisticated correction/grading tools.

You can still white balance well with them, but intricate grading is a little harder
(which is why most films edited on Avid/Premiere do their actual grades in Davinci Resolve).
 
PROGRESS UPDATE (2/27/22):
After screening the most recent cut, I've decided to add back 2 out of the 7 deleted scenes. It's clear they were probably only removed to make Yashida less likeable, and thus better work as a villain (and since he's not the villain in this version, all removing them does it make him a less developed character).
 
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