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Scanning a positive piece of film

From: Scanning with SilverFast

Video: Scanning a positive piece of film

In this movie, I'd like to show you how to do a scan of a positive piece of film; it could be a slide, or could be a larger one, like this is a 2.0" by 2.0" piece of film, working in automatic mode. First, let's just take a look at our image here by moving our scan frame down, and we do the old two corner trick here to make it easy to zoom in, and then we'll click our magnifying glass, and when we look at this image, as always, we say, what's important about this image? There is really no critical white highlight in this image, and there is no critical shadow; about the only thing that's closest to that is the dress that we can see the detail in here.

Scanning a positive piece of film

In this movie, I'd like to show you how to do a scan of a positive piece of film; it could be a slide, or could be a larger one, like this is a 2.0" by 2.0" piece of film, working in automatic mode. First, let's just take a look at our image here by moving our scan frame down, and we do the old two corner trick here to make it easy to zoom in, and then we'll click our magnifying glass, and when we look at this image, as always, we say, what's important about this image? There is really no critical white highlight in this image, and there is no critical shadow; about the only thing that's closest to that is the dress that we can see the detail in here.

But what this image is really about is the skin tones, so any adjustments we make to this image, we want to make sure that the skin tones look okay. so let's skip on over to automatic mode by moving up into the upper left-hand corner, and click on the WorkflowPilot, and that takes us into the automatic mode. And as always when we're working in automatic mode, we answer two key questions, and the first is, what is the Source, or input? And in this case, it's going to be a Slide, and that's SilverFast's word that they use for a positive transparency, or positive film image.

It's not always a 35mm slide, and it's not always in a case, but that's the terminology that they use. And then Negative, for negative film. And then for specific Kodachrome positives, then you would choose Kodachrome. It has got built in corrections that adjust for the difference in colorcast between Kodachrome, and something like Ektachrome, or Fujichrome. So we're going to choose Slide. And then we choose our output, or Task. That is, where is our image going to go? How do we want to use that? And you have lots and lots of choices here, but I'd like to take you through the Print dialog, because it gives us a basic set of tools for working on our image.

So we're going to choose Print, and this is a color image, so we'd go 48 to 24 Bit, and then we just click the Start button, which will initiate the Prescan. It goes without saying that you've cleaned your scanner, you've cleaned your image; you're handling your image with cotton gloves. Very, very, important, because remember, we're going to probably be enlarging this image pretty significantly. We've very rarely captured at 2.0." by 2.0", and printed at 2.0" by 2.0", so the next step is just move our frame in, get it close, just so we can magnify, and get a good look at our image.

And now we can fine-tune the placement of the frame, because it's a lot tighter on our image, and we can actually see the edges. And we've used this before when we're in the Print Task mode. We have this Fix scan frame for selected output, and in this case, when you do that, you can choose one of the formats that's here, and let's say that, okay, this image started out as a 2.0" by 2.0", but we rarely print images in a square format like that, so we might want to choose a different format, for instance, maybe 5.0" by 7.0". So we want to capture the original image, a square dimension, but we want to output it at a more rectangular one.

And when we choose 5.0" x 7.0", and we click on the fix frame, then we can resize the frame, and it's going to stay at those same proportional dimensions of 5 by 7, so that's very handy to do that. We can scoot up the bottom of this, make sure it's well inside the image, and then move this left to right; get the frame just the way we want it, so that Bonnie looks very nice in there. And then we're going to choose the resolution of our image. We're going to choose Photo Quality, and the nice thing about SilverFast, whether you are in automatic or manual mode, if you choose an output dimension that's different than the original dimension, which clearly this is, SilverFast will automatically do all the math for you that's necessary to give you this 5.0" x 7.0" image at 300 pixels per inch.

So we're ready to move forward then. We're going to click OK, and we're going to do an automatic adjustment here, and notice that the image is dramatically improved. Bonnie looks a whole lot better; she looks brighter, and better contrast overall. So this is a dramatic improvement, and we can see what the software does. We can see that its adjusted the Highlight and the Shadow by moving it in. And when we move over to the Gradation tool, we can see it's overall brightened a little bit. At this point, we can do some fine-tuning if we want. If we decided, I want a little bit more contrast, because the image is kind of flat to begin with. Usually with portraits, we lower the contrast, but an image like this, which is really kind of flat, we might want to actually raise the Contrast just a little but. Not too much; maybe just a tad. So we can do some manual adjustments here.

Now, before I move on, we're going to scan the same image in manual mode later on in the class, and I would love for you to compare the results, because when you move into manual mode, we're going to have access to some tools -- particularly some measurement tools -- that we don't have here, such as the Densitometer, which is going to allow us, in this case, to measure, for instance, the skin tone values of Bonnie that we just can't do here. And although we're happy with the improvement, I think you're going to be surprised at how much better you can do when you work in manual mode. So we're going to move forward after we've done our automatic correction, and then a little bit of a manual correction, and then we're going to click the Continue button.

And whenever you work in a Film mode, by default, SilverFast will automatically add in a Dust and Scratches filter. And it's got two different versions; it's got an infrared version, and a standard version. You can try both of them. I recommend that you just use the default values that you have here to get started, to see what the results are. So we're just going to use the standard SRD version here, and then we're going to click Forward. And then we're going to name the file, as we always do, with a three-part name. We'll call the Bonnie, and we're going to go underscore, we'll call this RGB, and then 300.

And then we'll choose the file format, and as I typically do, I'll save my scans out in TIFFs, because they're a good universal format: high quality, no compression, and then I can make a copy of the file, and save it out as either a JPEG, or PDF, I can downsample, downsize it to my heart's delight, but I can always come back to the original version, which is either a TIFF, or a .psd file. We choose the path by clicking on the folder. We can locate where we want the images to go through our computer interface, and then, well, we're ready to go ahead and scan.

So we'll click the Continue button, and it completes the scan, and then applies the corrections, and in this case, the SRD filter; the Dust and Scratches removal filter. This image was pretty clean. We didn't have really many dust and scratches on there, so you won't really see any improvements. Later on, in those videos, you'll see some images where we really affect some big differences using the SRD filter. Once the scanning and processing is finished, it will say Finished, and then this little button becomes active here. It's the Open image button. You click on that, and then SilverFast will ask whatever application you've designated through your operating system to open, in this case, TIFF files, and in my case, it's always going to be Photoshop.

So the image will open up in Photoshop, and you can see our finished image, which looks a lot better than the original, in terms of brightness and contrast. But I want to encourage you, again, to go step through the same process, with the same image, using the manual tools, and see what else we can do; see how much we can improve this image when we're using our manual tools.

Show transcript

This video is part of

Image for Scanning with SilverFast
Scanning with SilverFast

52 video lessons · 4141 viewers

Taz Tally
Author

 
Expand all | Collapse all
  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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