The quest to scan 35mm colour film

[aspencer]

Here goes.

I shoot colour and B&W 35mm film.

• The problem: I cannot achieve good colour scans
• The goal: good colour scans with high colour fidelity and a reliable, consistent workflow

I own a Minolta Dimage Scan Elite 5400 and a Nikon Coolscan V – operating with VueScan.

Having had much greater success with B&W, colour is the focus of this post.

I define a “good colour scan” as meaning colour fidelity to the real-life scene: balanced colour values and the vitality of those values.

My main points:

• The Minolta produces a distinctive green/blue cast – a common complaint of users
• I cannot achieve colour fidelity to real-life/the negative despite altering the red/green/blue levels (and others) in VueScan
• The Nikon produces better scans at the outset. Ed Hamrick suggests so himself. However, even the Nikon is not achieving optimal colour fidelity

I have followed the advice of some Minolta users out there, but I haven’t been able to find/extrapolate a solid base workflow.

In VueScan > Color tab > Color Balance, I have tried working from None, Manual, Neutral, Auto Levels, White Balance. I have also scanned the negative RAW, reverted in Photoshop, and used levels etc.

Despite also altering a variety of the other factors in VueScan, the green/blue cast present in the Minolta scans seems to indefinitely dull the colour values, even with post-production work in Photoshop.

Admittedly, I am not an advanced user of Photoshop, and the extent of post-production has involved using levels and playing with contrast and saturation.

I don’t mind doing post-scan work if I know the original scans will lead to satisfying post-production images.

I mentioned that I shoot B&W film to highlight that the Minolta does a fantastic job with B&W (better than the Nikon, to my eye) – yet I still feel that my scanning knowledge inhibits me from understanding what is the best practice.

I am not against hunting down the original software for either of these scanners if better results can be obtained than if using VueScan.

In closing:

• Can the Minolta replicate the apparently better colour scanning of the Nikon?
• If so, how? I would appreciate a detailed initial scanning workflow on this, with suggestions for post-production work.
• In Photoshop, should I use colour plug-ins?
• Should I get a calibration device for my screen, such as the Spyder5?

 

[Ysarex]

Here goes.

I shoot colour and B&W 35mm film.

Welcome to TPF. Why?

• The problem: I cannot achieve good colour scans
• The goal: good colour scans with high colour fidelity and a reliable, consistent workflow

I own a Minolta Dimage Scan Elite 5400 and a Nikon Coolscan V – operating with VueScan.

Old but decent scanners -- got an old Coolscan V I use on occassion.

Having had much greater success with B&W, colour is the focus of this post.

I define a “good colour scan” as meaning colour fidelity to the real-life scene: balanced colour values and the vitality of those values.

My main points:

• The Minolta produces a distinctive green/blue cast – a common complaint of users
• I cannot achieve colour fidelity to real-life/the negative despite altering the red/green/blue levels (and others) in VueScan

Color fidelity to real-life is a tall order. Further in your post you ask if you should calibrate your display? Well given that it's assuredly unfaithful to real-life that seems like a good starting place.

• The Nikon produces better scans at the outset. Ed Hamrick suggests so himself. However, even the Nikon is not achieving optimal colour fidelity

I have followed the advice of some Minolta users out there, but I haven’t been able to find/extrapolate a solid base workflow.

In VueScan > Color tab > Color Balance, I have tried working from None, Manual, Neutral, Auto Levels, White Balance. I have also scanned the negative RAW, reverted in Photoshop, and used levels etc.

Despite also altering a variety of the other factors in VueScan, the green/blue cast present in the Minolta scans seems to indefinitely dull the colour values, even with post-production work in Photoshop.

My experience scanning color negative film is that post scan processing is pretty much a requirement. You should make an effort with the scanner to get the color as close as possible and be sure to record the tonal values you require but then expect some time in Photoshop.

Admittedly, I am not an advanced user of Photoshop, and the extent of post-production has involved using levels and playing with contrast and saturation.

I don’t mind doing post-scan work if I know the original scans will lead to satisfying post-production images.

I mentioned that I shoot B&W film to highlight that the Minolta does a fantastic job with B&W (better than the Nikon, to my eye) – yet I still feel that my scanning knowledge inhibits me from understanding what is the best practice.

I am not against hunting down the original software for either of these scanners if better results can be obtained than if using VueScan.

That's not going to get you anywhere. We all use Vuescan for a reason. You install one of those antique scan drivers on a modern computer and your current OS will most likely choke on it and you'll be performing the computer Heimlich maneuver.

In closing:

• Can the Minolta replicate the apparently better colour scanning of the Nikon?

If the Nikon is better just use the Nikon?

• If so, how? I would appreciate a detailed initial scanning workflow on this, with suggestions for post-production work.
• In Photoshop, should I use colour plug-ins?

What plug-ins?

• Should I get a calibration device for my screen, such as the Spyder5?

Yes! get the display calibrated.

Sounds like you need to settle on a scanner and then work to tweak Vuescan settings for a best possible "working scan." My criteria is first to make sure I'm recording all the tonal range in the film -- if your scan fails to record diffuse highlights or shadow detail you can't fix that later. This requirement frequently sets up a situation where it is then not possible to get the contrast or exposure just right directly from the scanner. Use the scanner adjustments to get the color as close as possible and then expect to finish in Photoshop. Might help if you show us a scan that you're not satisfied with.

Joe