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Scanning a piece of positive color film

From: Scanning with SilverFast

Video: Scanning a piece of positive color film

In this movie I'd like to address scanning positive film. Now just like any other image we're going to treat our positive film images just as if it were a reflective piece of art, but we need to know that it's film, so light is going to be passed through it rather than bounce off of it. So the first thing we're going to do is do our double corner shot to get as close and then we'll magnify the image and then we can fine-tune our frame. Here we go. I'm not going to go through all the details of the scan steps that we've already done in this chapter, I would refer you to the previous scan project particularly the first two in this chapter to really dig in on the scan tools.

Scanning a piece of positive color film

In this movie I'd like to address scanning positive film. Now just like any other image we're going to treat our positive film images just as if it were a reflective piece of art, but we need to know that it's film, so light is going to be passed through it rather than bounce off of it. So the first thing we're going to do is do our double corner shot to get as close and then we'll magnify the image and then we can fine-tune our frame. Here we go. I'm not going to go through all the details of the scan steps that we've already done in this chapter, I would refer you to the previous scan project particularly the first two in this chapter to really dig in on the scan tools.

But let's go ahead and do a correction to this image and let's start with the Automatic Correction tool as we've used before and then take another look at our image and see if there is anything we need to fine-tune about this. Let's go to our Histogram and see what it's done, it's tucked the highlight up underneath there and the shadow, nice, all right. And underneath the Gradation tool, it's given us a little bit of brightness, very nice. The key thing in this image of course is the skin tone. So let's go take a look at that skin tone just to make sure that it's said okay and if we need to do some adjustment we will. I'm going to place a sampler point on her skin and then using our Densitometer, let's go ahead and float that so we can just have it right next to the image.

We're going to take a look at that skin, because that's really the key portion of this image. So hold down my Shift key and place a sampler point right on her skin and let's look at these values 191, 162, 166. And if you remember from our previous Portrait Scan, we said the key thing here is to look at the red, green and blue ratio, and the key concept is red should be greater than green should be greater than blue. And notice here that red is greater than green, we're okay there, but look at the blue was actually greater than the green.

When you look at this image just overall you can see it's kind of got this blue color cast to it, doesn't it? Well this just quantifies it, no question about it. When we go over here and we look at our separate red, green and blue histograms we see how high the blue is, the blue is tucked up right underneath here and it really should be quite a bit lower than the green and the green should be little bit lower than the red, so we've got some work to do here. You could put a couple of color sampler points on here if you want to do it twice just to see if you've got consistency, and sure enough, we've got more blue than we absolutely need. So what are we going to do? Well, the easy correction here is to go to the Gradation tool and we know that the separation is about 25 points a separation there. So I think we'll start with the green channel and let's just pull that green channel down just a little bit. I'm going to take the midtone of the green channel and we're just going to pull that down and we're going to monitor our RGB value there.

We're going to take this down to about 152, so we've got a good 30 points of separation there. And then we're going to go to the blue channel, we're going to monitor that blue value until we've got about 15 points of separation there. Now Bonnie is starting to look like she's got some decent skin tone. Do you see how by adjusting the red, the green, the blue ratio I move the green down a little bit just to give this a little bit more room between the red and the green. The reason why I did that was, if we take a look at our Histogram tool I could see here that we have quite a bit of green, particularly in the highlight area, so I assume we have some in the midtone as well.

So, I move the green down to create a little bit more separation between the green and the red. And then really move the blue channel down to create about half the separation that we had between the green and the red, between the green and the blue. So now clearly we've got red. It is greater than green is greater than blue and no more blue-green skin. She's got a nice red healthy pink glow to her. Again we're just treating this like any other image we look at it and say what's the key part to this image, and then we go pay attention to it. We allowed our Automatic Correction tools to set our highlights and shadow which was fine, and then we focused on the skin tone and fine-tuned with the manual correction.

So we can just move right on to Unsharp Mask, and we're just going to go ahead and apply most of the basics that we've got, maybe fine-tune just a little bit. We'll do 100% or 1, but because we've got some skin tones in there we're just going to raise this to about 2 to protect those skin tone areas. And notice we've got a black dress on, so I want to go to my Expert dialog box here and I'm going to make sure my Sharpen to 100% is turned off, so we have to take this down to 90 and this is standard setting for me, so that we don't end up with any sharpening related noise or green that's put into the black areas.

As always I turn on the Soft shadows so that the shadow areas don't end up with any grain in them. There we go. And then let's just go right up to our Scan dimensions and we'll call this Bonnie, and of course, this is an RGB image, and then we're going to set this at 300 pixels per inch. Now typically with the piece of film, either negative or positive, generally the film is very small and would typically use it at larger dimension. So notice that the original image size here is 2.22x2.29, and we're going to take that up to about 5x5, this is a square piece of film, so we can just put 5 in here.

And what's going to happen is that SilverFast is going to do all the hard math for us, and it's going to do the math to convert this from 2x2 to 5x5 and give us a final resulting image at 300 pixels per inch. So there we go. We're done, we're all ready to scan, we can put-away our Densitometer and just go right to the Scan button, knowing that Bonnie is going to be a nice healthy rosy pink on her skin tones. And once the scan is completed we can just click on our Open image file and then SilverFast will tell, in this case Photoshop, to go ahead and open that image right inside of Photoshop and there is this smiling Bonnie with the nice skin tones, when she started off being awfully blue-green.

Show transcript

This video is part of

Image for Scanning with SilverFast
Scanning with SilverFast

52 video lessons · 4391 viewers

Taz Tally
Author

 
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  1. 5m 19s
    1. Welcome
      58s
    2. What you should know before watching this course
      43s
    3. Taking the Tazmanian Oath
      3m 38s
  2. 19m 14s
    1. Launching SilverFast
      4m 2s
    2. Touring the SilverFast interface
      3m 35s
    3. Understanding SilverFast's scanning workflows
      4m 28s
    4. Using automated vs. manual scanning
      4m 31s
    5. Getting help as you use SilverFast
      2m 38s
  3. 32m 46s
    1. Touring the SilverFast 8 automatic scanning tools
      6m 7s
    2. Preparing for automatic scanning
      4m 6s
    3. Arranging your workspace
      4m 23s
    4. Setting up color management
      4m 43s
    5. Setting scan frame and resolution
      3m 55s
    6. Adjusting, naming, formatting, and locating an image
      8m 24s
    7. Previewing scan settings with the info tool
      1m 8s
  4. 1h 7m
    1. Scanning simple line art
      8m 6s
    2. Scanning detailed line art
      8m 9s
    3. Scanning grayscale photos
      11m 43s
    4. Scanning color photos
      11m 17s
    5. Scanning a color photo as a grayscale image
      12m 15s
    6. Scanning a positive piece of film
      6m 52s
    7. Scanning a negative piece of film
      8m 39s
  5. 26m 1s
    1. Touring the manual scanning tools
      7m 19s
    2. Setting preferences for manual scanning
      10m 0s
    3. Calibrating your scanner
      3m 40s
    4. Arranging your workspace
      5m 2s
  6. 1h 35m
    1. Scanning simple line art and changing it into vectors
      7m 38s
    2. Scanning simple line art and keeping it as pixels
      5m 41s
    3. Scanning detailed line art
      8m 18s
    4. Scanning grayscale photos
      14m 5s
    5. Scanning landscape color photos
      15m 51s
    6. Scanning color portrait photos
      13m 56s
    7. Scanning color product shots
      9m 29s
    8. Scanning a color photo as a grayscale image
      4m 31s
    9. Scanning a piece of positive color film
      5m 52s
    10. Scanning a piece of negative color film
      9m 56s
  7. 1h 0m
    1. Should I use SilverFast or Photoshop?
      4m 9s
    2. Making global color corrections
      4m 37s
    3. Bringing out shadow details
      4m 28s
    4. Making a selective color replacement
      3m 21s
    5. Sharpening in SilverFast
      7m 15s
    6. Working with target-based corrections
      4m 55s
    7. Color correcting with neutrals
      10m 19s
    8. Exploring automatic color correction in manual mode
      3m 35s
    9. Scanning a printed image
      5m 49s
    10. High-bit-depth and HDR scanning
      5m 28s
    11. Removing noise and patterns
      3m 32s
    12. Removing dust and scratches
      3m 30s
  8. 7m 2s
    1. Batch scanning images
      1m 28s
    2. Using the JobManager
      4m 16s
    3. Exploring SilverFast 8 shortcuts and tips
      1m 18s
  9. 1m 29s
    1. Goodbye
      1m 29s

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