I don't get why this guy's film did poorly.

harmonica44 said:
However, just because this one 30 second shot, is grainy, does that mean that every shot has to be just as grainy to match?
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In that scene, pretty much so. It would be jarring to go from a grainy clip to a pristine HD clip then back again. Yes, it can be a "stylistic" choice but all the clips in that scene will have to be the same before it looks like a choice (as opposed to a mistake!).

As the previous poster said, experiment a bit. You can throw in a third element to distract the viewer from the mismatch through the use of color -- for example a blue tint applied to all the clips in the scene. Maybe higher contrast . . . it's all about fooling people!

Good luck.
 
Well I don't want all the shots to be grainy, just cause of that one. Maybe I could remove the grain from 3400 ISO?
 
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harmonica44 said:
Well I don't want all the shots to be grainy, just cause of that one. Maybe I could remove the grain from 3400 ISO? If not, then you say all the clips would have to follow for a stylistic choice. But how do I know when the clip ends? It's a very long scene, that goes from room to room, with different lights, from outdoors to indoors. Not sure at what point I can go to pristine.
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Do your best to remove the grain and hope for the best.

Can you live without the grainy clip? Reshoot? Create the illusion another way?
 
I could reshoot but the clip is so good, even with the grain, I doubt I will get a better one. If I can't remove it, at what point do I know that I can go to pristine footage. It's sort of a chase, that goes from indoors, to different rooms, to outdoors. So I will need to choose what time in between is a good time to switch back to pristine.
 
harmonica44 said:
I could reshoot but the clip is so good, even with the grain, I doubt I will get a better one.
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Actually, the audience will never know what they missed. Every filmmaker has this same dilemma with great footage they can't use for one reason or another. Bite the bullet, put it in your extras reel, and shoot another.
:yes:
 
Well thanks. But I would have to go back to that location again, with the actors and try to make it look the same. What if I wanted to keep it but choose when to go to pristine footage, at what point during a chase would it become prestine? When it goes to a different room, with different lights?
 
You won't know the answer to that until you get it in the editor and see how it looks. That's an artistic question, not a technical -- those are the hardest to answer as everyone's opinion on that may differ.
 
Okay. Well for now since I'm busy reshooting other stuff, I will assume that it will look good enough in the editing, and keep it. I think I can make it good enough if I add grain, to other shots, just not sure if I should add grain to the whole movie or where it should end. I will also have to make other scenes look darker to match, or make the grainier one brighter, which would result in having to add more grain than before. I will try the grain removal first. Funny how most people would rather watch a lot of grain, rather than just one scene. I guess I'm a glass half full kind of guy when it comes to film look.
 
What about sharpening? Some of the shots, I would like to keep are very good, only accept they are a little out of focus. The sharpen effect really makes them in focus, the only problem is, is that there is a bit of noise from the sharpening. Do I have to add the same amount of sharpening noise to all the shots, or is it okay, to switch back to normal after the shot is over?
 
@gurAngel

A friend invented a grain remover and sold units to all the Hollywood labs where they do film transfer and digitize it. It's only $150K but ya gotta have a Telecin machine and just plug in the board. I was amazed how it removes all the crap floating on film and all the grains as well. The software removes only none repeating stuff, such as grains.
BTW, they do this in real-time! Scan the frame and the firmware does it's job, write it out to memory after compairing previous and next frames.

They also invented a weave corrector. Ya know, film gate worn out and the whole image is sliding back and forth on the screen. Am sure some of you old enough to remember that kind of thing. So, they made a plug-in board for the telecine and everything stopped, rock steady images.

If anyone interested I can put you in touch with the Hollywood lab or if you want one, that could be arranged as well.
Yeah, I know... don't have 800K in your budget :)
 
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