Chewtobacca

Williarob said:
I agree, but what else can it be? If the white data can be recovered it has to have a value 255 or less, because the blu-rays are 8-bit RGB color.

That’s why I said outside of the TV range. Occasionally, there is information just outside of it that one can make a subtle adjustment to recover i.e. a smaller change in levels than that which takes place in the standard TV<->PC conversion.

Williarob said:
…all you need is the following levels adjustment in AVISynth…

It’s unlikely to be as straightforward as that (or it would have been spotted long ago). It might be the case that there is a little detail just outside the TV range that can be recovered with a subtle tweak to the levels.

EDIT: Apologies for the double-post!

Moth3r said:

cough

http://originaltrilogy.com/post/id/523672

Is that what Nerevar is talking about though? If that sort of adjustment is all it takes, then it is indeed easy. I’ve been doing that in AviSynth for ages. But I imagined that the manipulation with curves that he was talking about was more involved.

It’s a discovery that we need to reproduce in AviSynth so that everyone can start projects with the highlights recovered.

DrDre said:
Here you can clearly see, that while the foreground is very green, the background and R2-D2 are fairly neutral, which makes it seem as though the scene was lit with a green light.

That’s an intriguing notion. It would explain a great deal.

dahmage said:
above comment is about normal PAL to NTSC conversions, but i may be out of my element here…

You are. “Normal” PAL conversions are simple speed-ups, so converting PAL back to NTSC simply involves a slow-down. It’s very easy to sync the PAL GOUT to the NTSC GOUT.

rnranimal1 said:
Could someone point me in the direction of details on how to make the ROJ PAL GOUT sync into NTSC GOUT sync?

http://originaltrilogy.com/topic/The-GOUT-Sync-Thread/id/17357

EDIT: This request is definitely off topic. It would be a good idea to continue discussion in my GOUT sync thread.

Booshman said:
Ah, so dropping in the footage as is, but within the black border of the original film. So the sides drop out during the added footage?

Yes. The added footage accounts for only a small portion of the runtime, so this way you can watch the whole film in widescreen, obviate the laborious process of panning and scanning, and avoid heavy cropping. While I understand that some might not like this approach, it definitely has its merits.

Molly said:

You’re talking about pan/scan and tilt/scan. Letterboxing is adding borders on the top and bottom; pillarboxing is adding borders on the sides.

Of course that’s what letterboxing and pillarboxing are. The footage that we have in 4:3 has already been panned and scanned. I am indeed talking about letterboxing and pillarboxing it to integrate it with widescreen footage (without cropping either). Just look at the picture above!

Oh, I see. I overlooked that post.

Jetrell Fo said:

I give no quarter to people who purposely make fun of others with disabilities, including unseen ones, just to get a laugh.

Is that really what darth_ender was doing? I thought he was just playing games with words for amusement, and I thought that it was to be confined to a single thread, which is the only reason I played along for a few posts. Word-play amuses me (to an extent, at least).

“Nobody wants to join Team Ender.”

darth_ender said:
Do maw new!

Shore lean hot.

darth_ender said:

Sew eesh ooh doll may keg croup hack count! Tea mender rye says! Lettuce half inns erection!

Eye chew steam tube hacker.

Del ate Ted.

TV’s Frink said:

darth_ender said:

Eye hey eight Mark Down sin tax!

Wheeeeeeeeee! Owl due.

Eye no. Wit stir a ball.

I love ya, Booshbaby, but you’re hard work sometimes. 😄 😄 😄 (I am too, I know.)

Booshman said:For Superman III, the extra footage is only available in 4:3 and pillarboxing that footage to fit the original aspect ratio cuts off too much image to be worth watching for me.

You don’t have to cut off any of the image. The 4:3 footage can be pillarboxed and letterboxed. This is what I was trying to explain before. I’ve seen it done, and it works better than you might think. (But, of course, I understand that some people don’t like it.)

captainsolo said:
Also the Donner cut was upgraded with slightly better video and has dtshdma 5.1.

Are you sure about the better video? According to Blu-ray.com, the video transfer was re-used, and my disc from the anthology set certainly seems to be the same VC-1 transfer that was on the stand-alone disc.

Molly said:

I use QTGMC(“Fast”).SRestore(23.976) for PAL-to-NTSC deconversions, for what it’s worth.

Yeah, QTGMC is better than Yadif but very slow. Using the fast preset is a good compromise, one that I’ve used in the past. The bobber doesn’t make a huge amount of difference though.

For 25fps input, 23.976fps should be the default value, so it’s probably not necessary to specify. I often specify default values myself though. It never hurts. 😄

Booshman said:
Thanks a lot for that. I’ll have a go with some of the other missing footage and see how it comes out. How would the script need to be altered for a PAL source, to get it to 23.976fps with the same smartbob result? I would like to do a comparison against another source I have.

People don’t tend to use rePal on PAL, for obvious reasons. 😃 It’s an alternative to SRestore really. You could add the 24.975fps to my script for a similar result. It’s usually correct (though this might be an odd case, which is why I asked how the source was made earlier in the thread). And like PlatB did, you could slow it back down by calling AssumeFPS().

LoadCplugin("C:\Program Files (x86)\AviSynth\plugins\yadif.dll")
Mpeg2Source()
AssumeTFF()
Yadif(mode=1)#or QTGMC or whatever
SRestore(frate=24.975fps)
AssumeFPS(24000,1001)

I take it that the PAL source on which you wish to work is also field blended – in which case, you could use SRestore on that too. For 25fps input, it should default to returning 23.976fps.

LoadCplugin("C:\Program Files (x86)\AviSynth\plugins\yadif.dll")
Mpeg2Source()
AssumeTFF()
Yadif(mode=1)#or QTGMC or whatever
SRestore()

Moth3r said:

What are the minor differences between the 35mm and the 70mm audio? I seem to remember something about a missing effect during the snowspeeder crash.

I think that the lightsaber sound when Luke exits the Wampa’s cave is clear in the 70mm but almost inaudible in the 35mm (at least on home video).

Yeah. As you know, it’s not even unusual for a film to have been panned and scanned more than once. The Wrath of Khan is like that: the ABC version has a different pan and scan from the LD.

Faithwyn said:
I haven’t seen that copy, but there’s not enough room on a DVD 5 for menus & such.
Purty much gotta grease up the Video & Audio just to get them in!

There’s plenty of room on a DVD-5 for menus. They don’t take up much space and wouldn’t affect the quality of the video or audio in a significant way. The reason that I don’t make menus is that I have no time to devote to that sort of thing, and most people are happy just to watch the film anyway.

You can’t IVTC it successfully, because it’s field blended. You need to use something such as SRestore(). There are alternatives, but they are all much of a muchness.

LoadCplugin("C:\Program Files (x86)\AviSynth\plugins\yadif.dll")
Mpeg2Source()
AssumeTFF()
Yadif(mode=1)#or QTGMC or whatever
SRestore()

I get confused about the history of the different TV versions. Was this the version that was edited/reconstructed in PAL and then converted to NTSC or was that the RIC? You might have to adjust the script to specify a frame-rate. At present, it’s returning 25fps.

Booshman said:
I’m sure there is nothing in the ABC cut that is missing from the RIC though

Ah, I see. I wondered if all the ABC footage was available at the time the RIC was made.

For the widescreen version I don’t want to have to just letterbox the footage. It will look bad and I think I can get better results combining footage to create some new shots.

Understood!

…my pan and scan work is all complete at the size it is now, I don’t want to have to go back though it. Do you think it worth downscaling the video externally so it’s not down to Premiere to do it?

It probably won’t make much difference.