C.C. for data to film
Posted 02 January 2006 - 01:44 PM
I am about to get in to the telecine for a color correction (black and white (5222 in this case), to make a data to film for a feature film. Final images for the data to film are in hd (not enough money for doing it in 2k or 4k). So I did a test and my problem is the amount of digital grain that the whites brings out . Also when ussing a power window to darken for example the bright sky. So the question is, what should be the tolerance the, "reality" telecine may bear for bringing down the lights in the power windows; and the other is if the rule of keeping the whites below the 95% ires is something to follow trluy.
I hope my post is clear for every one, These forums have been very usefull to me.. thanks..
martin boege dop, mexico city.
Michael Collier II
Posted 04 January 2006 - 01:31 AM
oh BTW, I am refering purley apparent noise, because noise in digital signal is equal throughout the ranges (its a bit of the noisefloor that is added to the pixels actual response, and once the highlights clip, there can be no digital noise present. its 100% lumenence)
What I think you might be seeing is maybe from the filmstock, maybe, but I dont understand what exactly you are seeing where.
Are you seeing it on the film out (once projected) or is it on the colorist monitor that you see this grain?
Now the other question I have is are the highlights actaully clipped? Are they nearing 100%? if they hit 100 IRE and drift between 100 and 95, then when you digitally bring that down you may see a 'grain' like image in highlights, but I cant tell.
Let me know what highlights you see it in, and what have been done to those highlights and if you can post a screen pic for use to gander at, maybe we can be more helpful
Posted 04 January 2006 - 11:18 AM
Digital Grain in the whites? What? I have done a lot of CCD work and have never seen grain in the highlights (no more grain than midtones, way less than in the shadow)
That's not the case in a film negative to video transfer, or a scan, for that matter. The whites are the densest part of the negative, therefore when the telecine is "reading" these areas, they are prone to generating more electronic noise than the dark areas of the picture (which are the least dense parts of the negative).