Das filmische Rauschen digitaler Bilder

Bei allen dogmatischen Statements und Liebeserklärungen für Film als Medium oder Digital als Möglichkeit gibt es einige ganz praktische Fragen, die sich in diesem Jahrtausend für Filmschaffende auf der ganzen Welt stellen. Dabei geht es mit Sicherheit nicht nur um jene vieldiskutierte Frage, ob Digital oder Film, sondern auch wie man das Digitale so benutzen kann, dass man daraus eine eigene Ästhetik gewinnen kann. Nun ist der erste Impuls vieler Filmemacher und Grader, möglichst filmisch zu wirken, wenn sie mit digitalen Aufnahmegeräten gearbeitet haben. Der Grund dafür scheint neben einer Gewohnheit und ästhetischen Idealen relativ klar. Dem digitalen Bild fehlt Leben. Je klarer und höher die Auflösung desto weniger Leben und auch Vergänglichkeit liegt in den Bildern. Das Zufällige, das Materialistische, das Handwerkliche des filmischen Mediums wird zu einem ungreifbaren und auf eine tote Perfektion ausgerichteten Zahlenwirrwarr im Digitalen. Was das Leben in einem Bild ist, wurde von unterschiedlichen Theoretikern und Künstlern beschrieben. Besonders einleuchtend waren mir immer die Gedanken von Francis Bacon: I would like my pictures to look as if a human being had passed between them, like a snail, leaving a trail of the human presence and memory trace of past events, as the snail leaves its slime.

Trotzdem werden immer wieder digitale Bilder erzeugt, die zittern und ein Leben in sich tragen. Beispiele hierfür finden sich im Kino eines Albert Serra, einer Claire Denis, eines Steven Soderberghs oder eines Pedro Costas. Es gibt ganz unterschiedliche Herangehensweisen und die Lösung hängt immer auch an der gewählten Kamera und dem Umgang mit dieser Kamera, da in der Welt der Consumer-Geräte sich immer weiter entwickelnde, aber dennoch beschränkte Chips verschiedene Looks mehr oder weniger vorgeben. Nun gibt es in der Postproduktion viele Möglichkeiten sich dem filmischen oder besser pseudo-filmischen Look anzunähern. Add Grain ist hierfür eines der beliebtesten Stichwörter, aber auch das Betonen bestimmter Farben und das Einsetzen diverser Filter helfen schon extrem. Aber kann man das Digitale aus den Bildern entfernen? Wenn man sich Steven Soderberghs Che-Filme ansieht, dann glaubt man fast ja. Allerdings gab es hier einen Transfer des mit der Sony Red geschossenen Materials auf Film. Dabei stellt sich auch die Frage nach dem gewählten Verfahren und ob die Bilder anamorphotisch oder sphärisch gedreht worden sind. Den Unterschied kann man sich beispielsweise in den beiden Che-Filmen von Soderbergh sehr deutlich vor Augen führen, da hier mit derselben Kamera aber unterschiedlichen Objektiven gearbeitet wurde. Die Ergebnisse waren und sind beeindruckend in ihrer Unterschiedlichkeit.

Einige Firmen wie Neat Video haben es sich zur Aufgabe gemacht, dem Digitalen das digitale Rauschen zu rauben und für meinen Film Patrick ist tot (Von dessen Dreh ich berichtete) haben wir davon Gebrauch gemacht. Natürlich sind die Merkmale des Digitalen nicht alleine durch dieses künstliche Rauschen definiert, denn schließlich spielen Eigenschaften wie Dynamik, Kontrast und Farbe auch in unsere Wahrnehmung des Looks. Ein Grund für unsere nachträgliche Arbeit am digitalen Rauschen ist, dass wir auf einer Canon 5D gedreht haben, die mit ihrem weichen Vollformat-Chip eine Filmähnlichkeit erzeugt, die sich dann allerdings in ihrer Dynamik und auch im digitalen Rauschen verliert und zusammen mit der Weichheit des Chips diesen schrecklichen 5D-Look erzeugt, den man aus gefühlt tausenden Nachwuchsfilmen kennt. Dennoch haben wir uns bewusst für diese Kamera entschieden, da wir für unsere Art zu drehen eine möglichst kleine, einfache Kamera benötigten und zudem eine, an die wir zweimal rankommen konnten. Dennoch haben auch wir uns für Add Grain entschieden, um die Bilder nach der Rauschentfernung nicht zu clean wirken zu lassen.

Hier mal unser Vorgang (in Adobe Premiere After Effects) beschrieben von unserem Cutter Joshua Burkert:

Short Neat Video post process description in Adobe After Effects:

1. DENOISE

Import footage to After Effects.
Original 8bit 5D mkII footage (200% zoom):

Neat Video Process 1

Change color depth to 16 bit:

Neat Video Process

Apply Neat Video Effects

Analyze Noise Profile:

Neat Video Process3

Auto profile noise, then activate very low frequency in advanced noise settings

denoised footage (200%):

Neat Video Process5

2. DITHER DENOISED FOOTAGE

By adding a minimal amount of noise (0,4) it will remove banding (blocky gradients) from images and make them smooth.

Effect -> Noise & Grain -> Noise

Neat Video Process6

3. ADD GRAIN

By adding small Grain to the denoised image, it reduces softness of the image.

Effect -> Noise & Grain -> Add Grain

Neat Video Patrick ist tot

with Grain (200%):

Neat Video Process8

4. RENDER TO A 10Bit CODEC

Export settings:

– Apple ProRes 422 (HQ)
– Trillions of Colors

Neat Video Patrick ist tot

Final graded image:

Patrick ist tot

Macht es aber Sinn, das Digitale aus dem Digitalen zu entfernen?

Fast mustergültig hat Albert Serra in seinem Locarno Gewinner Història de la meva mort das Digitale mit einem System aus Zufall und Zerstörung belebt. So ist eines seiner wie immer offen kommunizierten Geheimnisse der Transfer des ursprünglichen Materials auf 35 Millimeter. Aber auch sein wilder Umgang mit Format, Licht und nachträglichen Bearbeitungen lassen seine Bilder filmisch wirken. Überdies ist seine Wahl der digitalen Technologie dennoch essentiell für sein Schaffen, denn ein fester Bestandteil seiner Arbeit ist das Drehen von Massen an Material, die man sich auf Film schlicht nicht leisten könnte. Die Spontanität und Flexibilität, die auch schon das Kino der 1960er Jahre mit den kleineren 16mm-Kameras maßgeblich beeinflusste, wirkt sich demzufolge auch auf das zeitgenössische Filmschaffen aus. Die Zeit der Amateure hat damit nach 60 Jahren eine weitere Renaissance erlebt. Der Unterschied zwischen dem Amateur und dem Professionellen ist aber unter anderem der reflektierte Umgang mit der Technologie. Hier stoße ich in Gesprächen mit Kameramännern oder befreundeten Filmemachern oft an Grenzen, denn es gibt meist zwei dominante Faktoren:

1. Der Stand der Technik
2. Das Budget

Erster Punkt bedeutet, dass es ein im industriellen Filmemachen benutztes System gibt, dass zu einem gewissen Zeitpunkt den Anforderungen an einen als gewöhnlich eingeschätzten Filmdreh gerecht wird. Das wären zum Beispiel solche Aspekte wie das derzeit sehr beliebte Drehen mit einer Arri Alexa für dunkle Szenen, ein bestimmtes dominantes Farbmodell, der Stand der Technik eben. Dagegen ist natürlich nichts einzuwenden, solange es sich um einen Branchentalk handelt. (Menschen, die mit Champagner auf Messen stehen und sich erzählen bei welchen Werbedrehs sie was benutzt haben eben) Da aber häufig so Entscheidungen für Filme getroffen werden, muss man sich schon fragen, ob es im Film wirklich darum geht immer auf dem neuesten und besten Stand zu sein. Vor kurzem habe ich beispielsweise ein Konzert von Jack White besucht und seine ganze Band war mit eigentlich veralteten Instrumenten ausgerüstet. Dennoch handelt es sich dabei um einen zeitgenössischen, erfolgreichen Künstler. Und auch von Filmen hört man immer wieder ähnliches. Kameramänner, die sich für ältere Objektive entscheiden, die sich gewissen Methoden der Neuzeit entziehen. Es ist selbstverständlich, dass auch schon vor 60 Jahren Filme gemacht worden sind, die keinen Deut weniger avanciert sind technisch und die mindestens eine genauso große (im Durchschnitt sogar größere) Wirkung auf den Zuseher hatten sei es als Kunst oder Unterhaltung. Warum also dieses Rennen mit der Zeit? Warum lassen sich medienaffine Menschen so manipulieren von einem Markt, der letztlich nur verkaufen will und vielleicht noch viel entscheidender: Warum lassen sich unsere Augen von diesem Irrsinn täuschen? Ist es nur Gewöhnung, dass wir eine gewisse Auflösung, einen gewissen Look irgendwann als Standard wahrnehmen oder gibt es tatsächlich das Bedürfnis in uns mehr zu sehen? Und wann hört dieser Standard auf? Das ist es wohl, was man eine Übergangsphase nennt, denn jeder hat dazu eine Meinung, aber man hört sehr selten zweimal die gleiche Antwort. Claire Denis bietet eine sehr kluge Alternative, wenn sie sagt, dass man das Digitale so benutzen soll, dass es etwas Genuines hervorbringt. Eine digitale Ästhetik eben, Bilder, die man nur digital so machen kann und die mit dem Inhalt und der Form zusammenhängen. In ihrem Les salauds ist das durchaus gegeben und auch David Fincher setzt die Glattheit dieser Ästhetik wundervoll für seine Geschichten ein.

Bastards Claire Denis

Viel häufiger wird man jedoch gerade auf Studentenniveau die Kamera nehmen, die man eben haben kann. Im häufigsten Fall sind das die den Markt überflutenden Canon-Modelle. Nun hatten wir uns zum einen bewusst für die 5D entschieden und zum anderen ist das nun mal auch die Kamera, die wir uns leisten können und für die wir das nötige Know-How mitbringen. Wir haben versucht ihre Eigenschaften auf unsere Bedürfnisse anzugleichen beziehungsweise einen Film zu machen, den man so nur mit der 5D machen kann. Und da wir von Vergänglichkeit und vom Sterben erzählen, scheint uns ein zumindest nicht ganz cleaner, möglichst filmischer Look (immer im Respekt und in der Reflektion des Digitalen) durchaus berechtigt. Natürlich sieht das Ergebnis nicht aus wie Film (nicht mal im Ansatz), aber mit der Entfernung des digitalen Rauschens durch Neat Video, dem Add Grain und unserer Umarmung von Chaos und Zwischenmomenten und unserem Setting haben wir uns in unserem Rahmen darum bemüht, dass ein Leben in die Bilder kommt wie eine Schlange zwischen den Schnitten. Ein solcher Prozess zeigt zum einen wie weit man sich immer von den Idealen und Prinzipien seiner Vorbilder entfernt (und demnach auch wie weit ein theoretischer Ansatz und ein praktischer Ansatz auseinanderdriften können), aber gleichzeitig wie viel man von ihnen lernen kann, wie bedeutend die Frage nach dem Look in diesem Jahrtausend ist. Die Style over Content und Style is the Content Debatten kommen womöglich genau aus diesen technischen Revolutionen und so absurd es klingt, dass man ein Leben in die bereits gedrehten Bilder hauchen kann, so effektiv die Illusion und diese Illusion ist eine genuin Digitale.

Patrick ist tot – Trailer (2014) from Joshua Burkert on Vimeo.

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  65. Zune and iPod: Utmost people in america review the Zune towards the Touch, yet soon after viewing how skinny and surprisingly tiny and light-weight it is, I check out it toward be a as a substitute distinctive hybrid that combines attributes of equally the Contact and the Nano. It is extremely colorful and lovely OLED screen is somewhat more compact than the touch screen, yet the player itself feels quite a little bit lesser and lighter. It weighs over 2/3 as a lot, and is substantially smaller sized inside of width and top, despite the fact that remaining specifically a hair thicker.

  66. Zune and iPod: Greatest us residents evaluate the Zune towards the Contact, nonetheless when looking at how slender and shockingly small and light it is, I take into account it to be a very distinctive hybrid that combines attributes of both of those the Contact and the Nano. It is really very colourful and attractive OLED show is a bit more compact than the contact screen, nevertheless the player by itself feels rather a bit lesser and lighter. It weighs around 2/3 as a great deal, and is appreciably smaller inside of width and height, while currently being particularly a hair thicker.

  67. This is starting to be a bit much more subjective, however I a lot choose the Zune Market. The interface is colourful, includes excess flair, and some awesome capabilities including ‚Mixview‘ that permit by yourself quickly watch comparable albums, tunes, or other consumers identical toward what you happen to be listening in direction of. Clicking on one of people will center upon that solution, and an additional mounted of „neighbors“ will arrive into opinion, allowing your self in the direction of navigate near looking into by way of related artists, music, or buyers. Talking of users, the Zune „Social“ is additionally Good pleasurable, permitting yourself find other individuals with shared tastes and turning out to be mates with them. By yourself then can listen toward a playlist constructed dependent on an amalgamation of what all your good friends are listening towards, which is as well remarkable. Those anxious with privateness will be relieved towards notice on your own can keep away from the general public from seeing your particular person listening behaviors if on your own as a result determine.

  68. Zune and iPod: Utmost Those compare the Zune in direction of the Touch, however the moment watching how skinny and amazingly minor and light-weight it is, I take into account it to be a pretty exceptional hybrid that combines attributes of equally the Touch and the Nano. It can be exceptionally colourful and beautiful OLED show is marginally smaller sized than the touch screen, however the player alone feels Very a bit smaller and lighter. It weighs more than 2/3 as considerably, and is appreciably scaled-down inside width and height, even though getting basically a hair thicker.

  69. I like what you guys are up too. Such intelligent work and reporting! Carry on the excellent works guys I have incorporated you guys to my blogroll. I think it will improve the value of my website :).

  70. you are really a good webmaster. The site loading speed is amazing. It seems that you are doing any unique trick. In addition, The contents are masterpiece. you’ve done a wonderful job on this topic!

  71. The next time I read a weblog, I hope that it doesnt disappoint me as much as this one. I imply, I do know it was my option to read, but I truly thought youd have something fascinating to say. All I hear is a bunch of whining about one thing that you could repair if you werent too busy searching for attention.

  72. The contemporary Zune browser is surprisingly constructive, yet not as Terrific as the iPod’s. It works well, but isn’t as quick as Safari, and consists of a clunkier interface. If on your own sometimes method on making use of the internet browser that’s not an issue, but if you are planning towards go through the world-wide-web alot towards your PMP then the iPod’s much larger show and much better browser could be substantial.

  73. Zune and iPod: Most Those people compare the Zune in the direction of the Contact, yet the moment looking at how slim and remarkably tiny and gentle it is, I get it towards be a alternatively exceptional hybrid that combines attributes of both of those the Contact and the Nano. It truly is unbelievably colorful and beautiful OLED display screen is marginally lesser than the touch screen, nevertheless the participant by itself feels reasonably a little bit scaled-down and lighter. It weighs in excess of 2/3 as a lot, and is substantially scaled-down within just width and peak, even though remaining just a hair thicker.

  74. great publish, very informative. I wonder why the other specialists of this sector do not realize this. You must proceed your writing. I am sure, you have a huge readers‘ base already!

  75. Thanks a lot for sharing this with all of us you really recognise what you’re talking about! Bookmarked. Please also seek advice from my site =). We will have a hyperlink change agreement among us!

  76. I am going to products this examine towards 2 patterns of These: latest Zune owners who are taking into consideration an improve, and All those striving in the direction of come to a decision among a Zune and an iPod. (There are other gamers relevance looking at out there, such as the Sony Walkman X, still I hope this presents oneself plenty of details toward create an mindful determination of the Zune vs avid gamers other than the iPod line as very well.)

  77. I will right away take hold of your rss as I can’t find your e-mail subscription link or newsletter service. Do you’ve any? Please allow me realize so that I may just subscribe. Thanks.

  78. In between me and my partner we’ve owned excess MP3 players over the decades than I can rely, together with Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, and so on. But, the past pair a long time I have solved down to one line of avid gamers. Why? Because I was joyful in direction of explore how well-designed and pleasurable in direction of seek the services of the underappreciated (and commonly mocked) Zunes are.

  79. Palms down, Apple’s app retail outlet wins as a result of a mile. It is really a significant range of all types of apps vs a quite sad decision of a handful for Zune. Microsoft incorporates systems, in particular inside the realm of games, nonetheless I’m not absolutely sure I would have to have in the direction of wager upon the potential if this section is substantial towards oneself. The iPod is a a lot much better alternative in just that scenario.

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