If you’ve watched through NGE I’m sure you’ve noticed the sudden drop in quality for episode 16. Set zoom to 100% to compare pixel-to-pixel. Had to compress the OP image to fuck to fit file size so it's pretty useless, here's the full-resolution comparison image: I think that, thankfully, the two major Leliel scenes in particular (the first assault and Eva Unit 01 breaking out) are among the scenes that benefit the most from this treatment, the latter especially. I hate overuse of DNR as much as the next non-insane person but in the case of a deprecated source like this I think the experiment is justified so long as it's not suggested to be in any way definitive, just another option. This is not a final version- some shots look better than ever before, but some have heavy DNR gloop or artefacting from the AI tools used I'm going to go through this versus the pure BD and DVD sources shot by shot to see which source looks best for each shot now, and then we'll assemble a cut that uses the best-looking version of each shot and then carry out any minor colour and jitter corrections necessary after that. And that gives a freedom: everything is possible and there are no limits to what you can achieve.Opinions on this alpha version of this project's attempt to improve episode 16 (celluloid masters lost to damage before Renewal/HD release)? This is a combination of BD and pre-Renewal DVD sources, and Collector's Disc cel images for some still shots, with AI colour-correction applied using the cel images as references, and AI upscaling/sharpening on the DVD-sourced footage (mostly for dark scenes like the infamous demon-Asuka shot). It is clearly created for the best possible performance on high-end projects. “I love that the system is built for professionals. And Baselight also gives me the ability to manage colour workflows so specifically, which makes it easier to work seamlessly alongside VFX.” “I love the fact that there are so many ways to achieve a look. They don’t abandon their clients once the system has been bought. “FilmLight is probably one of the companies that follow and help their clients the most, and they have a very important support system.
Naotaka Takahashi, L’espace Vision, Tokyo And FilmLight gives us more help to maximise the system than other vendors, especially with technical tutorial videos.” “With Baselight, you can create the exact creative expression that you imagine. I really like its colour management and its very, very stable performance.”Īljoscha Hoffmann, CinePostproduction, Munich “I’ve been working on Baselight for nearly ten years now and it is definitely my favourite grading tool.
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