Jasność szczytowa nowego Avatara:
![[Obrazek: xGLe8bJ.png]](https://i.imgur.com/xGLe8bJ.png)
To z VOD, ale nie liczyłbym, że z płyty będzie jakaś istotna zmiana w tym względzie.
EDIT: Co nieco o remasterze pierwszego Avatara:
https://mixinglight.com/color-grading-tutorials/color-grading-avatar-colorist-tashi-trieu-part-1/
https://mixinglight.com/color-grading-tutorials/color-grading-avatar-part-2/
Już się boję
![[Obrazek: xGLe8bJ.png]](https://i.imgur.com/xGLe8bJ.png)
To z VOD, ale nie liczyłbym, że z płyty będzie jakaś istotna zmiana w tym względzie.
EDIT: Co nieco o remasterze pierwszego Avatara:
Cytat:Remastering Avatar (2009) required going back to the original project files from the 2009 original theatrical release and the 2010 special edition re-release. Those projects were created in Resolve 6. Blackmagic Design’s Dwaine Maggart built us a system at their office in Burbank where we resurrected the old project database and migrated projects forward. There were architectural changes to how Resolve handled stereo timelines and I was worried it was going to break and we’d be stuck on a really old version, but we were miraculously able to upgrade the projects to the latest version and have continued to do so until I finished the remaster this past year in version 18.
All of the live-action elements and most of the original VFX were mastered at 1920×1080, and for this remaster, we wanted to uprez it to 4K. In prior years, this wasn’t realistic and most uprezzing algorithms were essentially scaling with a bit of sharpening and didn’t add much value.
We used Park Road Post’s proprietary uprezzing process, which they developed for their work on They Shall Not Grow Old (2018) and The Beatles: Get Back (2021).
Using SGO’s Mistika grading system, an uprezzing artist would first analyze the shot for uprez and, depending on the characteristics of the shot, would use several different types of filters to treat noise or grain so as not to lose any image quality. Their proprietary pipeline uses ML (machine learning) to enhance the resolution. They can even rotoscope regions of the shot and then mix back different levels of the ML process to output the final shot. Ultimately, it’s not simply an automated process but an artist-curated approach that provides a major advantage over commercial off-the-shelf solutions.
https://mixinglight.com/color-grading-tutorials/color-grading-avatar-colorist-tashi-trieu-part-1/
https://mixinglight.com/color-grading-tutorials/color-grading-avatar-part-2/
Już się boję
