Technicolor look

[zarkos]

Maybe Cinelook After Effects Plugin will help you.
http://www.digieffects.com/index2.html?97,44

[Phred42]

or maybe the Magic Bullet (http://www.redgiantsoftware.com/magbulsuit.html) will help!

[klingspor]

Wow, those plug-ins seem to be more or less what I need... except for the price tag. I don't think I could justify paying that much cash for what seems like a relatively simple colour correction. :surprised:
But I'll definetely check for demo versions to go absolutely sure they're what I need and then make a decision.

But should anyone know of a similiar plug-in (perhaps free?) please let me know!

[zarkos]

Do you have a reference picture (screenshot) that we can see what it's look like?

[klingspor]

I've attached a shot from Disney's Pinocchio from 1940. Snow White and Fantasia are other good examples.
The old Disney films had a very distinct look to them that came from the Technicolor process in which they were produced. It's hard to explain and the attached image doesn't really do it justice, I suppose it's something you need to see on film.

Anyway, I need to recreate this look for a little cartoon I'm doing here...

[Phred42]

Maybe try translating this recipe, then?

http://www.fxguide.com/fxtips-73.html

[klingspor]

That's excellent, thank you! Now, let's see if I can get this to work in After Effects...

[megacles]

Any luck? I am also trying to simulate the look in AE. :)

[klingspor]

megacles, I'm getting some excellent results from the procedure outlined in Phred42's link. While it's not as comfortable as an all-in-one plug-in, the resulting look is good and you have a lot of control. It's a little work to setup, but I'd say it's worth it! :thumbsup:

[megacles]

I'm having some problems translating the method. :sad:

I can do steps 1-3 easily enough, but how would I do steps 4-7 in AE? I can't figure it out for the life of me!!

[Blur1]

The comp tree in the screen grab looks pretty straightforward, although when I build it in After Effects, you get the same image as when you started with.

The basic technique as I translated it is to invert the RGB image, use Shift Channels to isolate the R,G and B channels, then isolate these in their own comps, layer with the right colour solid (C, M, Y) and Lighten, Screen or Add them together (v little difference).

Then layer each of these comps with multiply.

Add the Invert on the top as an adjustment layer.

But it creates the same image. It's worth keeping in mind that if you invert RGB channels you get CMY channels anyway and this is what's happening.

All I can think is, in the inferno script,
a) they are not MAXing the inverted channel with a solid colour (eg. R with C, M with G etc), b) the maths behind the MAX/LIGHTEN and MULTIPLY operators are different to AE
c) I am assuming that the NEGATIVE operator is simply inverting RGB but maybe it's doing something else.

So there is something in the inferno tree which is different but not clear to me.

[marchermann]

I tried it in DFX+ with the same result: identical pictures before and after. Must be in the maths, I guess.

Marc

[parallax]

I'm looking into producing this technicolor look in AE, but i can't translate the combustion part, cause i'm not a combustion user.
Any suggestions?

ps.

I know, old post back from the grave..

[Hugh]

I'm getting absolutely no change here in Shake either....

Anyone got any ideas?

[chipmandoo]

i thought i would dig this one up, rather than starting a new one.

Has anyone had any good results so far trying to simulate this in after effects?

[dg]

Same here.

In Shake and in C* the output that I get is identical to the input, there must be something missing in that tip or the math behind the "Logic Op" is something really mysterious.

[chipmandoo]

Well here is a basic idea of how the technicolour process works

http://www.widescreenmuseum.com/oldcolor/technicolor1.htm

Would it be possible to simulate this in a compositer. say, render out all 3 different colour channels septratly as black and white, then use a filter and layer them on top of eachother in the compositer?

but i would assume that computers would be just too good at this and get the perfect result, which isn't what is needed. so maybe using just off the primary colours in the filter system so it would be so perfect looking? and kind of simulate technicolor

[Blur1]

but i would assume that computers would be just too good at this and get the perfect result, which isn't what is needed. so maybe using just off the primary colours in the filter system so it would be so perfect looking? and kind of simulate technicolor

I think you hit the nail on the head here. The tutorial states that to obtain the CMY colours he used a vectorscope to gauge pure values so he would have been using the vectorscope/broadcast monitor to get the colour he wanted which would be different to just picking 100% red and blue for magenta. I did a test and it's this little discrepancy that gives it the look. So you could basically do the same thing with a normal channel-based colour correction but by using the solid colours it is more intuitively like the original process.

[chipmandoo]

cool, so it can work then. I will have to take some nice contrasting colour footage later and do some tests. It would be good if anyone can post their results

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