Silly question, but do you set your white balance to something fixed before taking these shots? Most smartphones do auto-whitebalance, which would likely falsify the colors in many shots. Same goes for exposure settings, although these would only falsify brightness/contrast.

Also, just a tip for those who're lucky to own a smartphone new enough to do it: Use RAW images. They have a bigger dynamic range and can probably even capture the entire dynamic range of the projected film. Later you can load the raw image and recover full shadows and highlights. Many smaller cameras can do it too, like my Sony RX100 (but I'm not sure you would be allowed to use that one).

(2017-12-30, 03:52 PM)TomArrow Wrote: Silly question, but do you set your white balance to something fixed before taking these shots? Most smartphones do auto-whitebalance, which would likely falsify the colors in many shots. Same goes for exposure settings, although these would only falsify brightness/contrast.

Totally automatic. As already mentionned, I know many of the 800 pics taken don't reflect what your eyes can see projected. Same thing happened when I took pics of Se7en: the dusk ending was lacking all the yellow in the sky in the pics I took.

Great work Beber.
Thanks for taking the time and effort to go and get these stills.
Reference materials of this kind are gold for projects like this one

Here's another batch:




























And now, PDB, you have the whole set available to you by PM.

And another one for the curious ones amongst you:

Now here are some Blu-ray screens of scenes I don't have pictures for and for which I can give information.



For both of these shots, the feel of it was rather blue, probably mostly because of the cop cars and shirts. However, these blues were quite close to Simon sleeveless shirt we see him wearing from the heist and until the end. And I have pictures of that shirt. I believe that's a good indication as in those pre-digital days, costumes were tested and shot with the actors wearing them before the production of principal photography started so that the director and DP would know how they'd look on film, so it's not unlikely that the blues would look pretty much the same all along.


For this scene, the tunnel in the background where the truck is-- it's supposed to be very much teal.



For this scene, the Simon side felt blue (and I seem to remember that the windows were on the teal side), and the McClane side felt green. None had that late afternoon feel that the red of the current transfer gives to the scene.


The blue letters were very much teal.


All this blue was very much teal.


The "Café" logo on the right was even more purple.

35mm print on eBay with lots of decent screens: https://www.ebay.com/itm/1995-DIEHARD-WI...2605375858

Big thanks to Beber for all the pics and information!

Do you think alot of the grade differences are created during the Release Print process based on stock used?
If so, the characteristics of particular release film stock must get taken into consideration when grading the film.
Do film stock emulation LUTS add this variant?
It seams DHWAV has that 'Teal' look we have been seeing on modern masters, especially the 4K ones.

(2018-01-24, 08:22 PM)PDB Wrote: Big thanks to Beber for all the pics and information!

Die Hard 3 suffers from the same shift in colors as True Lies, or Death and the Maiden or even maybe The Empire Strikes Back, as the grey costumes look very much more blue on a photochemically color-timed film.








This is the direction these shots should be shifted towards: