Pete B
Well-known
Actually, It was a bit of rib-tickling because it wasn't relevant to the issue. It's actually some in date but not ideally stored AgfaVistaPlus200. I say it's not relevant because what ever film used, the V700 can't come up with the reds, whereas the Plustek does in the above scans.
Well spotted.
Pete
edge100
Well-known
No. Not in the least.
My method works. It has worked on thousands of frames of Portra 160/400, Superia 400, Ektar, 400H, CineStill, and Kodak Gold. It has worked on frames featuring predominant reds, greens, and blues.
You're more than welcome to disregard it, or to disregard me. I take no offence at all.
Photo_Smith
Well-known
Kodak engineered the new Portra to sit between the saturation of the old NC and VC. The old VC was 15% higher saturation than NC.
Ektar on the other hand was given a new red dye coupler (so I'm told) one that allows for vivid reds without to much red in skin tones, dye scavengers also help.
It has also a very vivid colour more so than VC with a tilt to cyan when the colour temperature is over 6500°K all that is referenced to sea level, you'll need a warm up filter in the mountains or with snow (so I'm told)
The actual tests were done in house though, with both subjective (people) and objective standards-I really cant tell you how those went.
One thing that has been confirmed is in bright light it's vivid much more so than any negative film out there, strangely in dull light it behaves more gently-almost like Portra...
edge100
Well-known
But it DOES matter for the CP profile.
And once again we're back to this: the V700 is simply not a very good film scanner.
Pete B
Well-known
I don't disregard it at all. It's the workflow I've been using for a couple of years now, except I deal a little more in ColorPerfect before taking it back into Photoshop. For me, there's no new information there, but it's good that some sort of a workflow has been put into a video to save newcomers the journey I've been through. I thank you for that as will hundreds of others. Like you, I've never had a problem with the Plustek scans, but the Epson scans have caused me a lot of heartache, and only from Photo Smiths latest post have I got a possible explanation.
Pete
Pete B
Well-known
Well, it doesn't really. Whether you use the built in profiles or create your own using CP's powerful "Film Type" and "Sub type" tools, the result is the same regarding the reds conundrum.
Pete
Wburgess
Established
Remember that the CP profiles are also quite old. Film emulsions rarely stay exactly the same over the course of production.
Also, this thing is, we can clearly see good colour from photo_smiths scans, so the V series must be capable to a certain extent.
PeteB, have a look at Edge's gallery and see if maybe the Plustek would be more to your liking, along with his method. (EDIT: Actually it seems you already have the plustek, my mistake)
brbo
Well-known
Except that your both files ARE in the same color space (Adobe RGB). Right?
Photo_Smith
Well-known
The thing is Pete if it is consistently brighter in the red you could have issues with the red gamut, the red channel or a host of other things in your workflow. You asked me to share with you my 'magic sauce' and I'm not sure what to tell you.
If you lived down the road we could spend a social hour examining your workflow from monitor profile though to scan targets-you could create your own profiles or buy a number 13 Kodak target (£15) and try to get things closer from input to output.
From what you've shown I've seen worse and some from people who consider themselves scan gurus (which I'm certainly not)
If you lived down the road we could spend a social hour examining your workflow from monitor profile though to scan targets-you could create your own profiles or buy a number 13 Kodak target (£15) and try to get things closer from input to output.
From what you've shown I've seen worse and some from people who consider themselves scan gurus (which I'm certainly not)
Photo_Smith
Well-known
The outputs may be in the same space but the devices might not, if the originator (scanner) can't record the tone it will be perceptually mapped to one it can and if the device space of the Epson is smaller its like pouring a litre in a pint glass-you're going to lose something.
Wburgess
Established
Do you use a custom profile for your v500?
Photo_Smith
Well-known
Not for negatives because they don't make one. I do however use IT8 for flat artwork and slides. What I do for negatives is use the same colour standard patches I do in the darkroom, I then save defaults for different lighting conditions.
I'm not really good at scanning I'm a Lab guy....
Here's my daughter on Portra 400NC, Leica M4P and I think Vuescan...
Pete B
Well-known
Photo_Smith
Well-known
You an East Anglian? One little bit of advice is to go to colour confidence and get some aims:
http://shop.colourconfidence.com/section.php/10384/1/colour-charts
I like the Kodak number 13 at £14.50 not too many patches but it will help you if you place one under each different lighting on each differnt film and make a preset. Its very yellow here in the UK at the moment colour can be tricky...
Ranchu
Veteran
It only clips when autoexposure in configuration is turned to anything other than the lowest leftmost setting, which won't then add an s curve. I believe it's always 2.2 because it outputs to srgb and that's what that is, but you can manipulate it in the levels palette...
Pete B
Well-known
Opposite end of the country (Cumbria), but I often catch a ferry to play in the Alps so perhaps we could arrange something to break our journey up one day.
I'll check out those colour charts, thanks.
Pete
I'll check out those colour charts, thanks.
Pete
Photo_Smith
Well-known
It would be far better if I saw your set up than you seeing mine, I guess the colour patches will help input-—-output to measure.
brbo
Well-known
Funny, because every single scanner I've tried so far came with default profiles. Some with separate, slide and negative profiles. You can use them or not. You can edit them or not. Maybe that is what he was asking...
Pete B
Well-known
I was thinking I'd pile everything into my van and bring it down. If we can't get it sorted I could dump it in the channel
Pete
Photo_Smith
Well-known
That's quite interesting, because the scanners characterised profile is way bigger than sRGB and depending on how they shrink the colour numbers could clip some information. Does it clip it if you import it to PS with a device independent or Profoto workspace working on a Mac with a 1.8 gamma monitor profile? obviously that might be a CMM 'bridge too far' to fit those numbers in the such a small profile with an assumed 2.2 gamma?
I've set my Mac to 2,2 anyhow but it makes you think...