![]() ![]() ![]() Legal colors were kept as they were and green or yellow glows were added to colors outside the color gamut. After deliberation, the best result came from ruling that a certain color will be treated legal if the color difference between the simulated data and the graded color is under a certain predetermined value. The usage of the photochemical simulation weighed largely in the creation of the LUT. An effective color restoration was made possible by the colorists learning the balance of this particular format. Having these visual warnings in place naturally persuaded the color balance to match the original image. There is a noticeable decrease in the green warning area. To the right, is the result of the color grading (performed by colorists, staff whose specialty is in color and adjusting them appropriately) with the LUT applied to the original image. Left: Pre-color grading Right: color grading resultsĪ LUT is applied to the pre-color graded image on the left, warning viewers of colors outside the legal color space caused by various elements in the process. Identifying color that cannot be expressed in a two-color system ![]() The following describes the restoration process, with excerpts from the presentation. The details of project can be found in the following link (details available only in Japanese, English summary): Hasegawa from IMAGICA presented the second half with a original digital restoration method developed for this project. Daibo from NFC provided the background leading to the film’s restoration, to the overall workflow and their simulation at IMAGICA West to recreate this unique two-color system. The presentation lasted about 20 minutes at the gallery theatre in National Museum of Singapore. The title of the presentation was “The Restoration of The Thousand-Stitch Belt (1937): Utilizing analog and digital techniques to retrieve the colors of a two-color system.” Provided by: National Film Center at The National Museum of Modern Art, Tokyo ![]()
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