Color Perfect Vue Scan Serial Number Zip
Julio Cesar Thap
Increase the quality of your slide and negative scans from VueScan Professional with ColorPerfect! Find out more about how to scan with VueScan. ColorPerfect processes scans with color integrity and gives unprecedented flexibility in creative image editing. To harness the full potential of our Photoshop Plug-in it's important to obtain image data that has been subjected to as little processing as possible (RAW data). The following tutorial gives a step by step explanation on how to achieve this with VueScan Professional. Also on creating linear scans with Vuescan.
For photographers who still love shooting analog film (like myself), DSLR Film scanning holds incredible promise. It offers analog photographers the best of all worlds, with incredible image quality and gorgeous colors from their negative scans in a faster, easier workflow.
? Your Scanners Default Film Mask
In my tests, scanner supplied film masks do a poor job of keeping film flat, and can sometimes cause uneven distribution of light (leading to portions of the film appearing discolored). In my opinion, it is well worth upgrading to a better scanning mask, or taping the film directly to your light table.
2. Scanner emulations!
Another problem with most methods of negative conversion is that they take RAW data (which is already spoiled by the wrong calibration) and then interpret the tones and colors linearly. This produces flat tones and unappealing colors. The beautiful tones and colors we typically associate with analog film are based on the color models of two scanner models: the Fuji Frontier and Fuji Noritsu scanners. Negative Lab Pro lets you emulate these pro scanners right inside of Lightroom (or you can choose no emulation).
One of the most popular methods of conversion is using a combination of sampling the film mask, creating a subtractive layer with the sampled color, inverting, and then using auto-curves in Photoshop. Doing it all manually is very time consuming, but there are a number of photoshop actions that automate the process.
While the professional lab scan performs well, there are still some minor issues that result in drab feeling skin tones, poor color separation, and lack of depth. Additionally, the labs scanner has cropped our image (especially the right hand side).
Your article is quite helpful! I have so many questions, and you have answered many. Thank you! Such a nice and superb article, we have been looking for this information about DSLR film scanning perfect color negatives. Indeed a great post about it!!
My intent is to scan my entire Archive of photographic material. Starting with negatives, while the bulk of my collection is 35mm and larger up to 8X10 negatives, I also have a fair number of consumer-grade 110 and DISC negatives.
I recently starting scanning Portra 400 (120) on my Epson V800 and I can't seem to figure out how get neutral, accurate colors that look white balanced perfectly. I use the RGB levels in Epson Scan and adjust the shadow/mids/highs in each channel to remove color casts to the best of my ability and then after scanning, I find that I have to repeat this exact process in Photoshop to remove further color imperfections via the Color Balance tool. So all I have is my eye and perhaps a reference image of a good Portra image I like (but of course the references colors don't seem to work for me).
For scanning, I strongly recommend the use of Vuescan and ColorPerfect (a PS plugin). Vuescan makes it easy to obtain a linear "raw" TIFF from your scanner. (All TIFFs from Epson Scan are gamma encoded.) ColorPerfect is the best way I've found for inverting the negative and color correcting the result globally. Both of these software programs are very reasonably priced and offer lifetime updates. There are excellent YouTube tutorials for both.
I use the RGB levels in Epson Scan and adjust the shadow/mids/highs in each channel to remove color casts to the best of my ability and then after scanning, I find that I have to repeat this exact process in Photoshop to remove further color imperfections via the Color Balance tool.
@Les Berkley: Thanks for your response. I have a fairly neutral monitor I color-correct on, but I doubt I'll ever get the "perfect" color like a lab so what I do is use a reference image of a lab made Portra 400 (not my own unfortunately, but I can see how getting a lab to develop my stuff so I have a standard to base off would be useful). My negatives are properly exposed, even a stop or two overexposed in some cases so I should be okay. Soft, warm light definitely used, and reflectors for sure. I did try some Vuescan and ColorPerfect but when I choose Portra 400 the colors looks funky and just not as smooth as I see people like you getting. I think perhaps my raw file is bad (ive watched the youtube videos) but I'm not adjusting any of the color or exposure options so I don't know why the color is so off:
Those Epson scan samples need some serious white balancing, maybe some split tone type adjustments to eliminate the monochrome filter effect on the skin if that's what's desired. Those are funky colors off the Vuescan Raws.
The Epson scan compressed color skin detail to one tone. I've gotten the same results. It's really hard to fix within EpsonScan unless you apply individual RGB curve adjustments but it has a tendency to introduce color noise artifacts.
@Alan Klein: well I do use the scanner's levels for Luminosity first to get a good scan exposure with full detail in the highlights and shadows. Then I adjust the color in each channel individually because sometimes the default scan colors are gross. Then I re-color correct in Photoshop for finer adjustments, I thought this would be standard? Are you saying only do color-correction in one of these phases and not both? Here is the flat scan with Epson scan's configuration set to "NO COLOR CORRECTION":
I've gotten good results scanning the negative as a positive in Silverfast SE in HDR mode that assigns or embeds an ICC transmissive scanner profile where I open in Photoshop, click for R=G=B in a neutral target in the image, invert and convert to a working space and use levels RGB channels to do further WB as demonstrated in the YouTube videos. Fast and easier with better color results than working in Epson Scan.
To the OP: My I suggest shooting a familiar subject, say a color checker, and then see if your process gives back reasonable colors? The colors in your samples look strange to me, and I can't tell if it's bad scans or a combination of lighting and skin tone that I don't understand.
Les: the Tiffs look pretty bad, completely blue in tone. I feel like the negatives should at least show sort of natural color on a default scan, not have this horrible hue/tint to them. I am seriously suspecting my development to be completely messed up but I dont know how to find the issue?
Sebastian: thats a great idea though I cant afford to buy a checker right now after all the money I spent getting into film. The colors looked fine when I took a test shot on my digital camera: the first photo should have a black background and the next one should have a blue background. On film however the scan colors are far from natural so I'm wondering if my development is bad or something. Maybe my thermometer is broken?
The scan image editor in iScanner is a practical and versatile toolbox that can instantly take the quality of your scans up a notch. With it, you can crop, rotate, change the color scheme, and perfectly adjust the brightness, hue, and saturation without even having to think about what these parameters are called.
This filter can also be extremely beneficial for scans of printed materials where the ink has faded or the colors are uneven because it increases the contrast between the text and the background, making it easier to read. Moreover, the black-and-white filter can easily remove shadows from the page, which are sometimes very difficult to avoid.
With iScanner, you can fix this problem in a tap. Just upload your document to the app, change the color scheme to grayscale, and adjust the slider control until you see the perfect picture. Tap Apply to All, and the printed version of your document, including all the images, will look perfect.
KODAK ZINK's premium-quality photo paper recreates every color and memorable moment with outstanding and brilliant detail. Every image boasts remarkable color integrity that is perfect for printing smartphone shots, augmented reality images, or photos from social media networks.
For decades, Cintel has been the leader in film scanning technology. Now the new Cintel Scanner G3 HDR+ advances the art of film scanning even further! The new Cintel Scanner G3 HDR+ features a completely redesigned light source that allows real time HDR film scanning in Ultra HD. The new model also retains the great features of the Cintel Scanners, such as digital servos, gentle capstan drives, advanced color science, 35mm and 16mm film support and an elegant architectural design that can even be wall mounted! The Cintel Scanner is perfect for unlocking vast archive film libraries for conversion into new Ultra HD masters so they can be uploaded for streaming and online distribution!
The Cintel Scanner is an innovation in technology. Film traditionally has been a mechanical technology and film products have suffered from poor quality electronics that required experienced engineers to keep them working. The Cintel Scanner has been designed with the latest Blackmagic Design image processing technology and feature a PCIe connection as well as Thunderbolt 3. This means you can connect it to your Mac, Windows or Linux computer and scan the film directly into your color correction system. That makes setup and use extremely fast plus eliminates slow file copying after scanning. You get easy to install software updates that can add new features in the future. It also means you can upgrade your computer whenever you need!
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