thanks for all the info folks! very useful, will try dave's technique
cheers moira
moiratierney.net
vimeo.com/moiratierney
On Friday, June 27, 2014 8:06 AM, Roger Wilson <[email protected]>
wrote:
Thanks Dave. I will pass this on to the editor.
Roger D. Wilson
Film Scientist
613 324 - 7504
[email protected]
http://www.rogerdwilson.ca
Without failure you can never achieve success. I have based my process and my
career as an experimental film artist on this statement; and I welcome it as it
pushes me forward as an artist to try something different, something new.
> From: [email protected]
> Date: Thu, 26 Jun 2014 17:42:29 -0700
> To: [email protected]
> Subject: Re: [Frameworks] removing dust marks on transfer
>
> > I was thinking it would be an expensive process to remove digitally.
>
> It's not necessarily _monetarily_ expensive. You can do it manually if you
> can afford the time. Of course, you want as clean a transfer as possible, but
> there are still likely to be some big nasty dust spot every X number of
> frames.
>
> The trick to manual dust removal is that your spot is only on one frame while
> the image likely persists over several frames.
>
> 1. So you put the film in a timeline in FCP or Premiere or whatever in two
> layered tracks.
>
> 2. The top is the copy-to-be-repaired and the bottom os the "patch".
>
> 3. Offset the bottom track/layer a couple frames in either direction.
>
> 4. Make a four-point garbage matte around the first dust spot, applying a lot
> of smoothing to the outline and a lot of feather to the edge.
>
> 5. Voila. The frame below should now fill in the dust spot.
>
> 6. Copy the matte, paste it into the other frames with dust spots, and move
> it over the spots. (This is easier than drawing a new matte). Frames with
> more than one spot need more than one matte.
>
> 7. Review each filled spot. Most will probably look OK as the part of the
> patch frame peeking through will be similar to the hole in the repaired
> frame. Where the camera or subject have moved enough, though, there will be
> no match and the patched hole will as obvious as the original spot. So we
> need to get a proper fill under the hole:
>
> A. Cut and trim the video in the patch track, so you can move this
> particular patch frame around without messing up any others.
> B. An appropriate fill area is likely to be available either in some other
> part of the patch frame, or a on a frame offset in the other direction - i.e.
> if your patch track is +2 frames offset from the main track, a frame at -1
> offset might work.
> C. To save time you'll prefer to do one or the other: 1) offset the XY
> center of the existing patch frame, 2) try a different patch frame a few
> frames away, but not both unless it's absolutely necessary.
>
> 8. of course, you only want to perform this operation on frames that are for
> sure going to be in the finished film, so it comes after you have a tight
> edit (but before you do any slo motion effects in software...)
>
> ...
>
> Yes, I've done this for a half-hour film. Yes, it was incredibly tedious.
> Yes, it took a very long time. Yes, it took several passes because I kept
> finding spots I'd missed on the previous pass. Yes, the results were worth
> it. In this case anyway.
>
> As Jeff noted I think only half-jokingly, a certain amount of imperfections
> can be part of a filmic aesthetic. It all depends on material and purpose.
> Sometimes you'll want a little dust, sometimes it won't matter, sometimes you
> need the frame to be really clean to preserve the fragile poetics of a shot.
> So when I say my labor was worth it, that's contextualized by how much
> clean-frame-vs.-dusty-frame mattered in terms of the aesthetics of the
> particular work at hand. YMMV.
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