Ace St.John
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Posts: 139
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Post by Ace St.John on Feb 3, 2024 16:33:51 GMT
The b&w print is of interest - and not just for the omitted scene. The original colour film would have been transferred onto 2” VT for broadcast and then telerecorded onto 16mm b&w to give us the telerecording we have. The b&w print should have a larger frame area and may well be sharper, not having gone through several stages to result in a telerecording. Exactly. Also, since it does contain a larger area and cleaner image, it would be suitable to transfer the scenes to the restored footage when it's fully restored. Plus, if the B&W film sequence print has the Chroma dots, we can use the color recovery method on it while the rest of the episodes gets manually colorized. A black and white sequence print would not have chromadots by nature of how chromadots come into being ie: via taking a b&w film of a tv monitor where they forgot to filter out the colour information. So the three RGB dots on the screen will all have different values to be counter worked out from the b&w telerecording. If it was film , filmed on location there wouldn't be any chromadots because there is no monitor involved. I can easily explain this in more details via private message. A basic understanding of how television was made back then would make it all clear it is quite simple really but without knowing the technology back then it won't be discernable
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Post by John Wall on Feb 3, 2024 17:57:17 GMT
Exactly. Also, since it does contain a larger area and cleaner image, it would be suitable to transfer the scenes to the restored footage when it's fully restored. Plus, if the B&W film sequence print has the Chroma dots, we can use the color recovery method on it while the rest of the episodes gets manually colorized. A black and white sequence print would not have chromadots by nature of how chromadots come into being ie: via taking a b&w film of a tv monitor where they forgot to filter out the colour information. So the three RGB dots on the screen will all have different values to be counter worked out from the b&w telerecording. If it was film , filmed on location there wouldn't be any chromadots because there is no monitor involved. I can easily explain this in more details via private message. A basic understanding of how television was made back then would make it all clear it is quite simple really but without knowing the technology back then it won't be discernable Just file it with “NTSC prints” and “Beta scans”.
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Post by Angel Amezquita (Angelgreat) on Mar 25, 2024 16:02:47 GMT
You know, I've been thinking. Could the BBC use the same people that recently colorize "The Daleks" serial to fully recolorize Invasion of the Dinosaurs
episode 1? If they want to reduce costs, the BBC can have them colorize the keyframes and use Peter Crocker's program from Mind of Evil 3 to extrapolate the color from the key frames into the intervening frames, with the occasional intervation. Maybe they'll wait to air other colorized 60's serials before recolorizing IOTD 1
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Post by markperry on Mar 25, 2024 20:16:06 GMT
I think the Daleks we got very lucky.
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Post by George D on Mar 25, 2024 22:28:37 GMT
The daleks colonization was a production for broadcast tv, hence got a higher budget
Look at the bright side, they aren't changing the music on invasion of Dino;)
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Post by Angel Amezquita (Angelgreat) on Apr 27, 2024 16:35:31 GMT
Looking at the DVD for IOTD1, the featured section in the B&W film sequence print looks better than the corresponding scene in the episode. Heck, it has some more picture and detail. Maybe if they do recolorize IOTD1, they can colorize the film inserts first, insert them into the episode, then colorize every else. Can't attach pictures, so here's a link to a Twitter comparison by yours truly.
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