Super 8 Final Cut Tricks to Restore Film Footage
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- Опубліковано 22 чер 2024
- Enhance your Super 8 footage with these 5 Final Cut Pro Techniques. No plugins required!
Whether you've uncovered an old roll of Super 8 film, or recently filmed a project with Super 8mm film, this editing tutorial will give you the skills to stabilize, color correct, reduce noise and sharpen your footage, and even erase some of those pesky specks and spots that crop up from dust and scratches on the film.
This is fantastic and very well presented. I am about to restore a load of films my dad made in the 70’s, when he was in the army. Great work, well done!
Thank you so much for the kind comment. Good luck on your film restoration, and please send a link in the comments if you upload the finished film!
@@TheDrunkBridesmaid I’ll be sure to do that and tag you. Are you on Instagram?
@@british_sports_car Yes! My instagram is @Kat_Tingum and I'd love to see!
Thank you, The Drunk Bridesmaid! That is an amazing FCP instruction. I am restoring 60 minutes of Super8 film I shot while serving in Vietnam. Your tutorial is just what I was looking for. Thank you!
I love the way you explain everything. Thank you so much for this content. Exactly what I needed :)
Excellent tutorial. Especially the Gaussian mask and video scopes functions. Really helpful. Thanks.
This video was super helpful, thank so much!
Thank you for making such a good tutorial!
Normal 8 had the advantage, that it could be developed on 16 mm equipment, you got a spool with 16 mm film what has the double number of perforations on each side and you use two times the half of it.
Initially Super 8 was in a cassette, but in East Europe they also mixed the initial concept of normal 8, so you had a 16 mm stripe with Super 8 perforations at each side.
Don't mess it with Super 16 mm. Super 16 mm uses 16 mm film with single perforations, as the standard is for 16 mm film with optical and later magnetic sound track, but the area that contains usually the sound is used for the picture, so it's a bit wider. There is optical printing needed, to be compatible with the usual projectors, it's a production only format, as it was 65 mm film for Todd AO, 55 mm Cinemascope film or Vistavision, all these processes could produce 70 mm, non anamorphic 35 mm film and Cinemascope or Panavision.
This is a very very cool and accurate tutorial. Thx
Wow! Not only was your video so very helpful, I was actually at that same event at the Minnesota Dragways. I literally lived at that dragstrip on weekends. Thank you not only for information, but a huge shot of nostalgia too! I have some still photos of the event, but not sure about my 8mm movies. Thanks again
no way! That's incredible you were there! If you have any photos you'd like to share, please send them my way, I'd love to see. My instagram is @Kat_Tingum I'm happy to hear you enjoyed seeing the footage.
@@TheDrunkBridesmaid I'm not on instagram much, but if you have an email I would be happy to send you a copy of one of my slides from the event. ( Scanned of course) Evel Knievel is distinct in the photo. It's about a 11 mb jpg. I can shrink it if necessary. You can message me here on youtube.
Thanks a lot!
Excellent.
your tips truly helped me restore my old film. you are a genius girl. thanls
I'm so glad to hear that! It means a lot to hear you've restored your film.
Very helpful tutorial. Thank you.
Glad it was helpful!
You have helped us immensely Thank You We have 3 Elmo transfer systems so our
start is good we just need to clean up the footage and this video helped
Amazing
Thank you! Cheers!
You are so PRO. This is an important subject, but I have not seen anyone tackle it as well. Especially in bringing it to the reach of those who are at a basic level of fcpx. your communication skills are tops. your knowledge tops. My only suggestion is that you SHOOT that organ player at the back of your room :) Please do more videos.
I like your video and next is that did you purchase noise reduction plugins or us inbuilt effect in FCP X because my FCP X no noise reduction effect.
Hello, thanks for the great tutorial. I do have a question. Can I convert digitised super 8 negative film to positive in Final Cut Pro?
Thanks so much for this. What a great tutorial. I just purchased a Wolverine film digitizer in hopes of tackling my parent's Super 8 home movies. This was very helpful. Do you know how well the scans turn out with these type of machines?
I haven’t tried that film digitizer, but I would love to know how it worked for your Super 8 rolls. Please let me know if you recommend it!
Hah, wow! I just purchased the same thing! The $400 pro version.
This is great thanks very much. Another important thing I learned was to clean the film first. I didn't use any chemicals just a microfibre cloth. It was slow but worth it.
That is a great added tip! I hope your footage turned out great. Thanks for checking out my video!
Just wanted to add that isopropyl alcohol is excellent for cleaning old super 8 before scanning or telecining - BUT - a lot of what is sold is now a cheaper 70% solution.
DO NOT USE 70% isopropyl alcohol.
Look for anything over 90% to ensure it dries more quickly without leaving a damp residue that could damage the film's emulsion.
The Drunk Bridesmaid, I appreciate your tutorial of digital restoration of super 8mm film. Over the course of about fifteen years of restoring/ remastering standard 8mm, super 8mm and 16mm, I have found the first challenge is to find a scanning company who can scan at the native fps of the film. This is not as simple as it sounds.
You are correct in saying super 8mm has a native speed at 18fps (with standard 8 mm running at 16 fps, and 16mm at 24 fps). In any event I have found the best restoration results come from scanning at the native running speed of a film (any film); restoring at that speed, and then utilising Adobe After Effects, Premiere Pro or Final Cut Pro to interpolate the film’s frame rate to a chosen video frame rate (i.e NTSC or Pal).
Initially 16 mm runs also 16 fps, but for compatibility with the usual 24 fps at 35 mm film with sound and also that the sound isn't too bad, they started to use 24 fps on 16 mm and also 25 fps, when use for television in countries with a TV frame rate of 2 x 25 fps.
The fact that even a few years ago you could still give your money to a company and receive 480p scans is, to be completely honest, very sad. Of course the result of a scan depends on the lens used for filming and the quality and degradation of the film, but even Super 8 has A LOT more potential than 480p. I usually have to go over 1080p for my scans to even get the whole grain structure.
Anyway, great job with the post processing, that did wonders with the original files :D
Nice vid. I'm trying to figure out a way to avoid double frames with my Super 8 footage imported into FCP. It's 18fps, scanned at 30fps in my particular scanning machine. A Final Cut project set at 30fps to match my machine's 30fps output doesn't seem to solve the problem.
Just for fun, would you like to see what this film looks like in 2k?
Interesting to see how you would do this in FCP. Thanks for sharing but 2 things puzzle me. Why would you only scan at 640x480? And why work in a 24FPS project when the film is 18FPS? IMHO it should be in at least HD 4/3 (ie: about 1440x1080) and closer to 18FPS, wouldn't you agree?
👍👍👍
IMO the scanning company could have pulled something higher than SD 640x480.
Footage I’m reviewing is so so overblown! My fossils knew nothing about white balance and ISO 😢
I tried to watch this, but the creator is so stunning i cannot focus.
I think an AI version of this would do wonders.
It could interpolate the resolution, possibly restore color, when it turns too much to red.
Artificial color doesn't work properly, I didn't hear about the option to teach the tool some colors, when they are known, also it creates blue rusty clothing, because it doesn't see the pants as one object, that can't change the color tone.
Nice job, but it could be better