[Tig] Tape to tape color correction

Andreas Leutner post
Sat Oct 29 16:46:28 BST 2005


hi bryan,

i would suggest the following process:

the evo in by-pass. (i cant imagine that an internal nr of an 80s hi8 vtr  
is as good as an proffesional nr) as you said most of the material is low  
light, high gain i would find a basemem for the main part of the material  
(using the color-corrector and the external nr (for example bts mnr11))  
and than, while correcting the material scene by scene, readjust the  
noisereducer. that will give you best relation between sharpnes and  
videonoise.

best

andi




Thanks to Sean Mckee for supporting the TIG.
--
I'm forwarding a question I have received via e-mail from someone  
interested
in tape to tape color correction:


I'm in the process of preparing a restoration for a documentary that was
originally sourced on Hi-8 and thought that you might have some experience
with the problems associated with analog video sources.

If you have a moment, here's my basic question:

We are dubbing all the camera reels from Hi-8 to D-Beta and want to  
preserve
as much of the original signal as possible.

On the EVO-9850 Hi-8 deck, there is a 'edit' move and a 'norm' mode when it
comes to outputting the signal along the S-Video cable.

In 'edit' mode, the noise reduction circuitry is bypassed and the image is
slightly sharper, but substantially noisier, particularly in low light,  
high
gain situations, which comprise the majority of the footage.

In 'norm' mode, the signal can be passed through the noise reduction
circuitry of the EVO-9850. It has 3 settings, "off","1", and "2". Position
"2" provides the best noise reduction, but at the expense of some  
sharpness.

Question: Is it better to preserve the signal of the Hi-8 by using the
'edit' mode, bypassing the EVO-9850 noise reduction circuitry with the
expectation that current telecine technology and noise reduction
capabilities are far better than what was originally designed into the
EVO-9850 (which was probably designed in the mid-1980s)

OR:

Is noise reduction best accomplished at the dubbing phase prior to color
correction. That is to say, is there something inherent in analog video
noise that is best corrected while still analog before it gets 'merged'  
with
the picture and laid down as a new digital frame.

/end forwarded message

As we at UCLA are not setup for tape to tape correction as of yet I would
appreciate any referrals to facilities capable of high-end correction as
well as insight to his tape quandry since I am not familiar with his
particular Hi 8 deck.

Bryan Stephens
Video Coordinator/Colorist

1015 North Cahuenga Blvd.
Hollywood, CA 90038
323-466-8559 (P)  323-461-6317 (F)
bigbry at ucla.edu
www.cinema.ucla.edu/footage
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