Quote:
Originally Posted by Eric-Jan
The manual should indicate which LUT's you should use for the color correcting, you are not using the software the device came with ? if you know which LUT's to use you could aslo use the Davinci Resolve to do this, you don't need the (paid) Studio version for that.
|
These are very basic devices intended for consumers to use at home. I used one a couple of years ago just to finally get my family's 8mm/Super8 digitized while my parents are still alive to see it. Previously I had tinkered around with other solutions using my DSLR, an enlarger lens and a modified projector. It was just taking too much time to re-invent the wheel, and when the Wolverine came onto the market I jumped on it just because it's so easy.
But there are numerous issues:
1. mp4 only, with no control over bitrate or other encoding parameters.
2. hardcodes to 30fps, which is just ridiculously wrong for either format (Regular 8mm is 16fps and Silent Super-8 is 18fps). Fortunately there are ways to slow the frame rate without re-encoding
3. TERRIBLE compression artifacts. The mp4 files are tiny and obviously starved of bitrate. You can reduce the appearance somewhat by setting sharpness to the lowest level, but they're still very visible.
4. Sometimes gets off-kilter whereby the resulting movie will have vertical instability. You don't know this is happening until you finish the capture and watch the movie. Oftentimes, recapturing it will solve it but I had some reels I had to transfer four or five times.
5. AGC is on and cannot be turned off. So you often get bright/dark jumps.
There are a bunch of other issues, but those are the main ones. That said, the Wolverine does have value and I'm not one bit sorry that I bought one. I had a ton of old films from my dad and both grandfathers that I had never seen, and no one else in my family had seen for 30+ years (since we got camcorders and never looked back). What's awesome about the Wolverine is that it's a frame-by-frame scanner. Pretty much every other accessible method of capturing 8mm involves projecting it onto something and capturing the projection--flicker and all. The Wolverine does it the *right* way, but their implementation leaves so much to be desired.
OP, I had almost no luck color correcting my footage from the Wolverine. There simply isn't enough chroma (color data) to make any more than tiny adjustments.
I would say that you're unlikely to find much in the way of discussion about capturing film here. The best resource for the Wolverine and its ilk is the
film-tech 8mm forum .
You may want to post sample footage you captured on YouTube and link to it--then people can offer specific suggestions.
I remain committed to recapturing all my 8mm/Super-8 when a better scanner become accessible or when I win the lottery and can pay someone with a rank-cintel to do it for me!
Edit: OP what brand/type of film is it? Kodachrome holds its colors extremely well. Ektachrome develops color casts (at least the stuff from the 60s did--Kodak may have addressed that by the 70s and 80s).
The other issue with Super-8 is that it was all formulated for tungsten/indoor lighting. When used outdoors you're supposed to flip a switch to add an orange filter to adjust for the cooler color temperature of daylight. On my dad's camera, either that switch broke or he just forgot to do so, so in a lot of his movies the outdoor scenes have a hideous blue cast. With a high quality capture that can be mitigated somewhat with color correction, but because it wasn't exposed correctly during shooting it will never look as good as it would have with the proper filter in place.
Not sure if that is your issue or not. If you notice the blue cast just in outdoor scenes but not indoor ones then that's a dead giveaway.
