Matthias, in your demonstration dust, chemical stains and scratches have been impressively removed using Diamant's Film Restoration software. However, the stabilisation tools used here - whilst not bad for what Americans call a digitised "orphan" print - are not helped by remaining pixels that swirl and "boil". Do you think de-graining and/or de-blocking clips like this prior to digital restoration could assist?
It has changed a lot, but the principles still persist. Have a look on the DustBuster+ DEMO here www.hs-art.com/index.php/solutions/dustbusterplus/2-uncategorised/150-db-demo-download
@@lighthousedvd Thank you for answer. I have one more question. I know that when digitizing film, it is scanned and restored, then color graded and mastered. Is there a case of removing scratches or dust after color grading first? If that was the case, what was the reason? I think it will cause image loss, so I think it should be avoided.
Hey i have a old propaganda film from ww2 in digital format. But it is very dark and hard to see whats going on sometimes, do you have any solutions on how to maybe brighten the film up without making the contrats look weird. Maybe you have solution. Very good video btw. Best regards
Thanks for this really informative video, Andreas and HS-Art! The part about stabilization is really helpful!! It illustrates why generic stabilization tools in graphics compositing programs like AfterEffects and Apple's Motion can't get the job done. Too many different parameters to work with. The stabilization tools in those software packages aren't built for film restoration.
Gone Autos, I'm not sure you are right with regards to the limitations of Adobe's After Effects. I own Diamant's entry level film restoration app Dust Buster + for Mac. No doubt Diamant's full restoration software is ideal for most digitised film stabilisation. However, putting aside the excellent stabilisation tools in (the equally expensive) Nuke aside, I have had success splitting up a scanned film clip in After Effects, and with a combination of the app's stabilisation tools and manual key framing, can achieve much the same result. That said, it's more of a challenge to stabilise scanned film that has various areas of instability. To tackle this it's possible to composite in to a clip tracked sections of a single frame, and add grain to these non-animated grain sections. The process just requires time and patience.
Geil, danke für die tolle Erklärung!
Ehrenmann 💪🏻
Thank you for sharing your workflow with this software - nicely done!
Matthias, in your demonstration dust, chemical stains and scratches have been impressively removed using Diamant's Film Restoration software. However, the stabilisation tools used here - whilst not bad for what Americans call a digitised "orphan" print - are not helped by remaining pixels that swirl and "boil". Do you think de-graining and/or de-blocking clips like this prior to digital restoration could assist?
Wonderful explanation! Thanks, Andreas! BTW, will "Tormented" (1960) be getting a blu-ray release showing off your excellent work?
Amazing work! would you mind to tell me how much does it cost this software? Thanks!
Please contact sales@hs-art.com
$20,000
Has Diamant software changed a lot in the last 7 years?
It has changed a lot, but the principles still persist. Have a look on the DustBuster+ DEMO here www.hs-art.com/index.php/solutions/dustbusterplus/2-uncategorised/150-db-demo-download
Thank you for this, it was very informative!
How did you scaning? 10bit linear or 10bit CPD(log) or 16bit linear?
It was with a Scanity filmscanner in 10bit linear. 10 bit linear were sufficient for the material. 16bit would have been too expensive.
@@lighthousedvd Thank you for answer. I have one more question.
I know that when digitizing film, it is scanned and restored, then color graded and mastered.
Is there a case of removing scratches or dust after color grading first? If that was the case, what was the reason?
I think it will cause image loss, so I think it should be avoided.
@@JJ-jk8ky That's right. First the restoration, then the color correction. I don't know any case where it makes sense the other way round.
Hey i have a old propaganda film from ww2 in digital format. But it is very dark and hard to see whats going on sometimes, do you have any solutions on how to maybe brighten the film up without making the contrats look weird. Maybe you have solution. Very good video btw.
Best regards
How can I contact Andreas?
Where can this software be purchased online?
please contact sales@hs-art.com
wo kann man das kaufen was kostet das 10k?
Bitte sales@hs-art.com kontaktieren.
Thanks for this really informative video, Andreas and HS-Art! The part about stabilization is really helpful!! It illustrates why generic stabilization tools in graphics compositing programs like AfterEffects and Apple's Motion can't get the job done. Too many different parameters to work with. The stabilization tools in those software packages aren't built for film restoration.
Gone Autos, I'm not sure you are right with regards to the limitations of Adobe's After Effects. I own Diamant's entry level film restoration app Dust Buster + for Mac. No doubt Diamant's full restoration software is ideal for most digitised film stabilisation. However, putting aside the excellent stabilisation tools in (the equally expensive) Nuke aside, I have had success splitting up a scanned film clip in After Effects, and with a combination of the app's stabilisation tools and manual key framing, can achieve much the same result. That said, it's more of a challenge to stabilise scanned film that has various areas of instability. To tackle this it's possible to composite in to a clip tracked sections of a single frame, and add grain to these non-animated grain sections. The process just requires time and patience.
How much is the software?
Please contact sales@hs-art.com
@@hsartdigital Please just tell us how much the V12 suite is.
@@DamageInc86 Please contact sales@hs-art.com
$20,000