I don't know. I'm pretty sure you can do lossless trimming of AC3 files, I'm pretty sure Audacity can do it for example. Trimming would be worse if it were a lossy process.
To clarify: so if I have the files above, I'd then need to trim 27ms from ESB 36ms from ROTJ...or do you need to trim a different amount after the files are converted?
OK I think that's right. The trim values indicated are good for the downloaded files. Nevermind.
Tighe said:
What I wish would catch on is 60 FPS film like Showscan. I remember watching the Revenge of the Sith and in some of the panning battlescenes the 24 frames per second really showed and looked very jerky...
Not that 60fps isn't nice--it is--but I've noticed recent movies are having 24fps come-aparts a lot more frequently than I remember they used to (it did happen before, but not all the friggen time like now). Is the typical speed of pans some sort of filmmaking trend, and we're on the bad end of a fashion swing? Is there something about digital filmmaking that means you can't change shutter speeds during pans like you should? Just curious.
Where is the German soundtrack for this? Also, if I have a soundtrack, is there an easy way to tell which year/remaster it's from? For example, listen for shattering glass in the detention area, etc?
EDIT: Nevermind, I've got everything I need.
Just for curiosity's sake, are there good GOUT-timed foreign-language dubs out there that could be muxed with Harmy and DarkJedi's projects?
I imagine there's a German one being used in Laserschwert's project, and I thought I saw a post once about a French one, but I'm not finding anything.
EDIT: Nevermind, I've got what I need.
Okay last call for Portuguese. I did my best to post nonsense English posts on some Brazilian Star Wars forums, but it would probably help more if anyone just has friends or family in/from Brazil.
Thanks to everyone so far, this is going to be more successful than I thought.
danny_boy said:
Who to believe----Rick McCallum or Steve Hoffman
That's a tough one. In order to figure it out, I'd have to listen to it.
Thanks to HH, it turns out that's easy to do! But I'm sure Rick might be right about other things.
I think it's pretty much a requirement that one panel be in the format of a mission briefing, with a holographic image of Skywalker Ranch projected in the middle of the room.
Thanks for the status update! I'm looking forward to these audio fixes as well!
DJ--on the subject of burnt-in alien subtitles, are you collaborating with Harmy at all on creating these? Considering these need to be rendered anyway, I don't see much point in two different projects doing it independently, and his latest batch for his SW 2.0 look extremely close to theatrical IMO. That still leaves ROTJ to do, though.
mverta said:
Most of what you're seeing with the Blu-Ray can be categorized by four classes: 1) Exposure issues, 2) Damaged element recovery, 3) Deliberate color grading, and 4) Lowry.
This listing reads like the four layers of Hell to me for some reason.
Doesn't really matter if you go for Harmy or DarkJedi, either way you'll get HairyHen's awesome 70mm sound reconstruction, which is pure gold.
You can't get Mike Verta's version--this is a point of contention for many. He's restoring the movie but not distributing it, for legal reasons.
I love the work DarkJedi's done (GOUTv3, Project Blu), and it's the most faithful thing you can actually get, but it doesn't scale nicely to the size of screen you're talking about. Your best bet is Harmy's projects (Despecialized Editions), which aren't quite as faithful but scale to large sizes much better.
None are as good as a real 35mm version.
Aren't you, like, in school or something? Don't you sleep? What gives? How is this possible?
I'm not sure I have all the facts 100% correct, but here goes. 70mm and 35mm have the same aspect ratio. For SW and ROTJ, I believe the 70mm print is visually just a blow-up of the 35mm print. The 70mm version of ESB has some slight visual differences from the 35mm/home video version. All of the 70mm prints have surround sound mixes which the 35mm didn't.
All screenings would pretty much have to be private non-commercial deals. If you live in Southern California, Mike Verta plans to do private screenings of his personal restoration project. I'm considering letting my local hippie independent theatre know about Harmy's reconstructions (I know they do private screenings and have a AVCHD-capable Blu Ray player, so it's no stretch). But seriously, just get into backyard projection. It's fun, cheaper than you'd think, and you get to know your neighbors. Be your own private screening theatre.
There is no "done" with you.
Heh, see how little we ask of you Harmy? Seriously, though, if you managed to do this I would buy you enough beer to kill you. Er, so maybe you won't want to. Depends how much you like beer I guess.
So does anyone else here want to watch this whole movie or is it just me?
Harmy said:
What do you think?
I like it. I'm sure there's room for improvement still, but it's now clearly the best option so far IMO.
Harmy said:
OK, so I accepted the challenge and put my sources together and came up with this:
1. A frame of the 35mm scan I got.
2. GOUT
3. v1.0
4. v2.0 (unless I get my hands on a better source)
I actually prefer your 2.0 version, but I really think it could be improved in the starfield and in the black crush (most obvious in the shadows on the right half of the frame). Maybe ease up on the black a touch, and copy in the GOUT starfield with boosted contrast to match the blacks?
If this ends up being usable, I nominate this for the Most Awesomest Source Material Used in a Film Restoration Project.
Harmy said:
OK, here's a video with the new matte applied:
Fantastic! And where it's not fantastic, it's still faithful.
TServo2049 said:
Anybody got a 70mm frame of the hangar shot?
Maybe. Do you think it'd be in this 70mm Technicolor IB print I've been using as a paperweight?
Next question: Are you going through the scenes you're working on chronologically? Because frankly if that's true there's more to be excited about than a silly matte painting.
That looks really good to me. If someone with a better memory of the film says it needs to be a touch brighter or dimmer, I'd say there's room for small adjustments either way.
I'd agree with that approach. Would it be possible to try for halfway in-between?
