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THX Italian 35mm - Feedback thread — Page 2

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Aaaaaannnnd, done! Who wants it? Send me a PM.

Just be aware: Buck Rodgers is in English since no apparent Italian dub exists and there are gaps in the audio due to missing film on the 35mm print. If one were so inclined, these could be filled in with the TV broadcast.

What’s the internal temperature of a TaunTaun? Luke warm.

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 (Edited)

“THXITA:
Robbottin, I don’t think anybody has synched the Italian dub to the laserdisc yet (I don’t even think anybody was planning to, to be honest), why do you need it?”

Ciao, ho il laserdisc USA, che ho catturato su hard disk, e vorrei vederlo in italiano.

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Mavimao will fill you in, I thought it would have been more complicated to do to be honest… With all those cuts etc. Just make sure that it doesn’t “leak” out, if you know what I mean.

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Well the cuts were already done when I made the English grindhouse version. So it literally took me 10 minutes to export

What’s the internal temperature of a TaunTaun? Luke warm.

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 (Edited)

thxita said:

Mavimao will fill you in, I thought it would have been more complicated to do to be honest… With all those cuts etc. Just make sure that it doesn’t “leak” out, if you know what I mean.

I promise, personal use only.

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Mavimao said:

Aaaaaannnnd, done! Who wants it? Send me a PM.

Just be aware: Buck Rodgers is in English since no apparent Italian dub exists and there are gaps in the audio due to missing film on the 35mm print. If one were so inclined, these could be filled in with the TV broadcast.

Hi, I sent to you a PM…I think.

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You did! I sent you the link.

What’s the internal temperature of a TaunTaun? Luke warm.

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Thanks everyone for the feedback so far, there will be another version up in the next few weeks for critical feedback. I was out of action for a bit and had to go for an MRI yesterday, which involves a lot of travel for me as well, but will be back into it next week.

Donations welcome: paypal.me/poit
bitcoin:13QDjXjt7w7BFiQc4Q7wpRGPtYKYchnm8x
Help get The Original Trilogy preserved!

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Best health-first wishes!

But then again . . . as in Three O’Clock High (1987), famously quoted by the likes of Michael J. Fox and Peter Jackson . . . “Pain is temporary. Film is forever.”

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 (Edited)

“Mavimao:
You did! I sent you the link.”

Thank you! I muxed it wih video from laserdisc and it worked very well; it’s amazing that I could see this masterpiece in that cut (and not in the weird italian cut) with full vintage italian dub! A dream came true!

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Glad you enjoyed it!

To be honest that weird Italian cut seems to be just a made for TV version. The 35mm Italian print this sound came from is actually the same cut as the original US theatrical cut.

The laserdisc you’re watching is a director’s cut made after the success of Star Wars.

What’s the internal temperature of a TaunTaun? Luke warm.

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Mavimao said:

Glad you enjoyed it!

To be honest that weird Italian cut seems to be just a made for TV version. The 35mm Italian print this sound came from is actually the same cut as the original US theatrical cut.

The laserdisc you’re watching is a director’s cut made after the success of Star Wars.

Yeah, I know all the story.

Here in Italy I could find only the weird (tv) cut and his strange dub, until now. Waiting for the release of 35 mm scan for the final enjoyment.

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 (Edited)

The Italian dub is still the same as the tv edit, it seems like they added the voice over for the tv intro by calling back the same dubber. Unfortunately anybody involved with that dub is now dead and it’s gonna be difficult to find any more info about it

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That sounds a bit sinister. Is the Italian dub cursed or something? 😉

Forum Moderator

Where were you in '77?

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Ahahahah! The curse of the Italian dub. Beware!

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 (Edited)

This next section with the multiple cuts wasn’t as bad as I thought it’d be (a pain, but not bad):

sync 35mm to 16mm - as 2 parallel streams matching where they can
3rd 1000 frames
[note: each 1000-frame section begins exactly on shot; section ending isn’t trimmed]

35 frames . . description
19192-28172 . . begin match @ room-talk
. 00000-00151 . spacer for spliced-out sign_reader
. 00000-00001 . blink for undetermined spliced-out frame(s)
. 00000-00054 . spacer for spliced-out robo_malfunction
28173-28224 . . matched @ robo_malfunction
. 00000-00009 . spacer for spliced-out robo_malfunction
28225-30000 . . matched @ robo_malfunction

16mm frames . . description
19940-28922 . . begin match @ room-talk
28923-29072 . . 35mm missing sign_reader
. 00000-00001 . blink for undetermined spliced-out frame(s)
29073-30000 . . matched @ robo_malfunction

Here’s is what threw the timeline into question (and how to deal with it) – both 35mm and 16mm were missing/spliced between the same shots:

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This new section was just some broken-film splicing of the 35mm (however, there was a brightness fluctuation with a darker fade-out of the 16mm shot, of THX & LUH embracing; no frames were lost, as the following THX morning-shower shot remained in sync):

sync 35mm to 16mm - as 2 parallel streams matching where they can
4th 1000+ frames
[note: each 1000-frame section begins exactly on shot; section ending isn’t trimmed]

35 frames . . description
28944-30132 . . begin match @ crowd_talk
. 00000-00001 . spacer for spliced-out crowd_talk
30133-31085 . . matched @ tv_talk
. 00000-00001 . spacer for spliced-out tv_talk
31086-31806 . . matched @ tv_talk
. 00000-00014 . spacer for spliced-out hall_search
31807-32558 . . matched @ hall_search
. 00000-00002 . spacer for spliced-out SEN_talk
32559-40000 . . matched @ SEN_talk

16mm frames . . description
29909-41000 . . begin match @ crowd_talk

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This next group was the usual pain. 😃

sync 35mm to 16mm - as 2 parallel streams matching where they can
5th 1000+ frames
[note: each 1000-frame section begins exactly on shot]

35 frames . . description
39199-42869 . . begin match @ THX_prep-room
42870-43019 . . begin 35mm-Italian violation_report
. 00000-00152 . spacer for 16mm-English violation_report
. 00000-00001 . spacer for spliced-out violation_control
43020-43182 . . begin violation_control
. 00000-00046 . spacer for spliced-out violation_control_2
43183-43189 . . begin violation_control
43190-43191 . . bad frames violation_typing
. 00000-00001 . spacer for badcap-frames violation_typing
43192-45743 . . match after badcap-frames violation_typing
45744-45842 . . 35mm-Italian arrest_readout
. 00000-00101 . spacer for 16mm-English arrest_readout
45843-46041 . .
. 00000-00002 . spacer for spliced-out robo_beating
46042-48002 . . match @ robo_beating
. 00000-(-1)spacer for spliced-out whiteout_meeting (single frame)
48003-48524 . . match @ whiteout_meeting

16mm frames . . description
40186-43856 . . begin match @ THX_prep-room
. 00000-00149 . spacer for spliced-out 35mm-Italian violation_typing
43857-44009 . . begin 16mm-English 2-violation_reports
44010-44228 . . match @ violation_typing
. 00000-00001 . spacer for badcap-frames 35mm-Italian violation_typing
44229-46782 . . match after badcap-frames violation_typing
. 00000-00098 . _spacer for 35mm-Italian arrest_readout
46783-46883 . . begin 16mm-English arrest_readout (2 frames longer that 35mm)
46884-49570 . . match @ black (before robo_beating)
.

BTW, I know that this is slow-going, so if it’s too late or redundant to be useful, let me know.

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 (Edited)

EDIT: false alarm (script bug; see discovery post below)
This is something that I was seeing, but not registering, while concentrating on the films’ alignment and the missing frames on one film or the other. I came across it again on a wide brightness variation across a cut. Yes, it’s a problem and it needs fixing … across the entire film!

In this exemplary sequence of frames, with different brightness levels in different parts of the picture, it is easy to see that only the frame immediately before the cut is ghosted with the incoming frame. (This should be impossible with printing equipment that made these films, but is possible with software in the scanning and post-scanning processes [stabilization, et al].) Also note that the reverse is not true – that is, on the other side of the cut, there is no ghosting from the outgoing frame onto it. And this phenomenon occurs on both 35mm and 16mm, which further reinforces the supposition of it happening from the scan on forward.

Please check this out on the actual film and tell me I’m wrong, that it’s Avisynth, or Media Player Classic HC, or undiagnosed double-vision.

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It would actually be quite easy to do this as an optical on the equipment in the 70s, but I will check the 16mm and see.

Donations welcome: paypal.me/poit
bitcoin:13QDjXjt7w7BFiQc4Q7wpRGPtYKYchnm8x
Help get The Original Trilogy preserved!

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 (Edited)

I just made a paint program proof-of-concept fix, which handles this easily and hopefully universally, as is. With your far superior software, it can be completely automated and perfectly seamless. (I just love technology.)

TOP - original frames 54882 54883 54884
BOTTOM - frame 54883, differenced by frame 54884 (at 12% opacity), then brightness normalized

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I’m taking a look tonight.

Donations welcome: paypal.me/poit
bitcoin:13QDjXjt7w7BFiQc4Q7wpRGPtYKYchnm8x
Help get The Original Trilogy preserved!

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 (Edited)

With a nothing Avisynth script, I just checked the file itself … to be sure. And it looked fine (no ghosting)! Double checked the file directly and no ghosting, too. I’m glad of that, but …

After stripping away individual statements to check that sequence (it was a pain on this under powered laptop), the problem turned out to be a 24fps “conversion” instead of a 24fps “setting”. (Who would’ve thought 24fps-to-24fps would produce a rounding error instead of being “transparent”? Well, at least I’m good at finding bugs.)

Hope I caught this soon enough to prevent any inconvenience on your end.

Of course, now, I must verify all my previous synchronizations …

UPDATE: The frame numbers of that sequence match with the script correction in place. Complete disaster averted!

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Yep, it is not in my scans or on the film.

I have another little THX surprise I would like to share with anyone interested, but I need another 1GB of hosting space. If a couple of people could use infinit with my referral, it will get me the extra space I need so that I can share the file.
https://infinit.io/?referral=poita
They aren’t dodgy, just a very useful file storage service, and it gets me extra space to be able to share more files.

Donations welcome: paypal.me/poit
bitcoin:13QDjXjt7w7BFiQc4Q7wpRGPtYKYchnm8x
Help get The Original Trilogy preserved!

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poita said:

Yep, it is not in my scans or on the film.

I have another little THX surprise I would like to share with anyone interested, but I need another 1GB of hosting space. If a couple of people could use infinit with my referral, it will get me the extra space I need so that I can share the file.
https://infinit.io/?referral=poita
They aren’t dodgy, just a very useful file storage service, and it gets me extra space to be able to share more files.

Done. Enjoy your GB.

Star Trek: The Motion Picture DE - The Anti-DNR Fanedit
Duel (1971) - The Hybrid Cut
The Phantom of the Opera - 1925 Version Reconstruction - Rare Scores Collection - Roy Budd Score