231–240 of 348 posts
“So, we have five or six extremely high-resolution monitors that have better color and picture quality.“ I would love to know what qualifies as extremely high resolution for computer monitors circa 1995
This topic is fascinating to me. The Toy Story film workflow is a perfect illustration of intentional compensation: artists pushed greens in the digital master because 35 mm film would darken and desaturate them. The aim was never neon greens on screen, it was colour calibration for a later step. Only later, when digital masters were reused without the film stage, did those compensating choices start to look like cre…
I've always been a fan of repos that I come across with ARCHITECTURE.md files in them, but that's a pretty loose framework and some just describe the what and not the why. Otherwise, I wish I worked at a place like Oxide that does RFDs. https://rfd.shared.oxide.computer Just a single place with artifacts of a formal process for writing shit down . In your example, writing down "The greens are oversaturated by X% beca…
Aha! I used to work in film and was very close to the film scanning system. When you scan in a film you need to dust bust it, and generally clean it up (because there are physical scars on the film from going through the projector. Theres also a shit tone of dust, that needs to be physically or digitally removed, ie "busted") Ideally you'd use a non-real time scanner like this: https://www.filmlight.ltd.uk/products/n…
How much of the colour change is also dependent on the film printer and also film scanner/telecine? It just seems like there’s a lot of variability in each step to end up with an unintended colour, that will taken as the artist’s intent.
All steps before try to not affect the color and keep as much dynamic range as possible to give as much leeway as possible for the colorist.
Realistically, for Pixar and Disney (not people with limitwd funds, say), the color grade is much much more relevant to the final color than the specifics of digitizing.
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There’s an analog analogue: mixing and mastering audio recordings for the devices of the era. I first heard about this when reading an article or book about Jimi Hendrix making choices based on what the output sounded like on AM radio. Contrast that with the contemporary recordings of The Beatles, in which George Martin was oriented toward what sounded best in the studio and home hi-fi (which was pretty amazing if yo…
> decent German and Japanese components Whoa there! Audio components were about the only thing the British still excelled at by that time.
Aha! I used to work in film and was very close to the film scanning system. When you scan in a film you need to dust bust it, and generally clean it up (because there are physical scars on the film from going through the projector. Theres also a shit tone of dust, that needs to be physically or digitally removed, ie "busted") Ideally you'd use a non-real time scanner like this: https://www.filmlight.ltd.uk/products/n…
> Theres also a shit tone of dust, that needs to be physically or digitally removed, ie "busted" Is that because you're just leaving the film out in a big pile, or because it decays rapidly? I would have expected film to be stored in containers.
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And now we have the Loudness War where the songs are so highly compressed that there is no dynamic range. Because of this, I have to reduce the volume so it isn't painful to listen to. And this makes what should have been a live recording with interesting sound into background noise. Example: https://www.youtube.com/watch?v=3Gmex_4hreQ If you want a recent-ish album to listen to that has good sound, try Daft Punk's R…
> now Is this still a problem? Your example video is from nearly twenty years ago, RAM is over a decade old. I think the advent of streaming (and perhaps lessons learned) have made this less of a problem. I can't remember hearing any recent examples (but I also don't listen to a lot of music that might be victim to the practice); the Wikipedia article lacks any examples from the last decade https://en.wikipedia.org/w…
Because of this it generally makes more sense these days to just make your music have an appropriate dynamic range for the content/intended usage. Some stuff still gets slammed with compression/limiters, but it's mostly club music from what I can tell.
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The author here is asserting that VHS were based on the 35mm scans, and that the oversaturation is a digital phenomena. Clearly, that's not true. I can't challenge the vividness of your memory. That's all in our heads. I remember it one way, and you remember it another.
For sure, the author simplified things for the article. Anyway, in the case of VHS, they were indeed based on the 35mm scan but then had additional magenta added (as well as pan and scan to change the aspect ratio). The author is not wrong that oversaturation is a source transfer phenomena (which will always be different unless special care is taken to compare with the source material). On most TVs that magenta would…
Film weave could also be worth mentioning. Movies projected on film look different not only because of the color and texture, but also a constant spatial jitter over time. When the film moves through the projector, each frame locks into a slightly different position vertically. That creates a wobble that's called "film weave." (If you want to create truly authentic-looking titles for a 1980s B-grade sci-fi movie, don…
“So, we have five or six extremely high-resolution monitors that have better color and picture quality.“ I would love to know what qualifies as extremely high resolution for computer monitors circa 1995