Sure, you just need to register at forums.thestarwarstrilogy.com
I’m pretty sure the LPP used for the SSE is a duplicate, so it’s 4(?) generations away from the negative.
Even if it isn’t a dupe, it’s still 3 generations away so it really shouldn’t come as a surprise that Bluray based sources have more detail and less grain than a scan of a release print. But like santakrooz says, release prints are what people saw in the cinema and Cinema prints were not struck from the original negative - contact printing was a destructive process, and if they created hundreds of prints from the negative it would have been destroyed. So they would create an interpositive, and use that to create a throw away negative to use for striking prints. When it wears out, they would simply create another. This allowed them to create hundreds of prints without damaging the negative. Sometimes a few prints would be struck directly from the negative for critics screenings, and special events, but these did not end up at your local cinema.
SSE = Original negative -> Interpositive -> internegative -> Positive print -> duplicate -> HD print scanner.
4K77 = Original negative -> color separation matrices -> Positive print -> 4K print scanner
Bluray = Original negative -> 4K print scanner.
It would be really nice if Disney/Lucasfilm could dig up one of those original IPs and create a new 4K scan - it would be head and shoulders above anything else we have access to.
I honestly didn’t want to sound rude. If i did I’m sorry. I had a honest question and thank you for taking the time to post your comments to clarify. You have sacrificed so much so people can enjoy your work and i thank you. if i ever save up enough money for my home server i would be happy to lend my processing power to your projects. But for now cryptocurrency miners will continue to jack-up the prices.
I don’t think anyone was accusing you of that. To me it just sounded a little uninformed, not rude. I think the thing is there is a disparity of information between people who are involved (like poita), people who follow closely, and people who are new or don’t follow these projects so closely. In any case posting your enquiry in the forum rather than by private topic I think is helpful as it provides an opportunity for others who are thinking the same thing to get an answer. 😃
Exactly. Though typically, any post that begins with a phrase like “I don’t mean to sound rude but…” is usually followed by something that could be interpreted as rude - even the person writing the post can see that, hence the preface. In this case, I think you asked a perfectly legitimate question that I’m sure others were wondering about also, and I don’t think it was rude to ask. Those of us who have been on this board for more than a decade often forget that not everybody is as informed as we are, and lesser beings than Poita have been know to pounce on posts like this one with venomous wrath - which is totally unfair, but also human nature. If you had spent years of your life and thousands of dollars working on these projects, and then somebody new comes along and asks “why aren’t you doing this or that?”, it’s very easy to take offense and overreact when posting a response. I know I’ve been guilty of that myself.
So my response was really just to express my admiration for how Poita handled your question, in the hopes that others (myself included) might learn from it. If we want the next generation of fans to continue to care for and about the original trilogy, we need to continue to politely answer their questions, even if the answers seem obvious to us or have already been posted many times before.
Also, the Spanish Audio track on The Silver Screen Edition is from the optical soundtrack on that print. Or at least 99% of it is - the audio on the missing frames was restored from a digital source.
Poita I’d like to take a moment to thank you, not only for all you do for the community but also for continuing to take the high road in situations like this - it’s unfortunate that a lot of forum threads ultimately flame out because somebody says something rude, and others respond in kind. It’s all too easy to write a biting retort. Your thoughtful and reasoned reply is the kind of response that stops that nonsense in its tracks, restores perspective and allows discussions to continue. This is not the first time, I’ve seen you bite your tongue, and refrain from cutting somebody down to size, and I’m sure it won’t be the last. I applaud your patience, and wish the internet was filled with more people like you.
Found another one. https://m.ebay.com/itm/Star-Wars-Original-Trilogy-Despecialized-Edition-3-Blu-Ray-Set-SEALED-BRAND-NEW/162905430089?hash=item25edeb9849:g:FvoAAOSwIFtZ~TN1
Wtf, how did he get it “sealed”?
I work at a Party City and we sell giant rolls of cello wrap. It isn’t hard to wrap things in it, you just have to be good at wrapping and gluing. What would be REALLY impressive is if they were shrink wrapped.
Not really, I used to work at a place that sold software and we had a cheap, off the shelf, shrink wrap machine. It was basically just a bunch of cellophane bags, open at one end that we’d put the boxes in, and then use the attached “hair dryer” like device to shrink it and seal it. Took just a few seconds. I’m sure anyone can buy these replacement bags and use a household hairdryer to do the same thing.
Hi I ran into problem on color matching 2 color palettes, every color matched except that one on row 3 column 2, it always turn to pink on the result.
This is a discrete color matching problem. The color matching algorithm assumes images with a continuous color distributions with smooth color gradients, so it’s not perfectly suited for this sort of problem.
However, the explanation is in row 5 column 1, which in the source image has almost the same color as row 3 column 2. That color has to become a bright pink, and so row 3 column 2 also becomes pink.
So does that mean the problem can be resolved if I can sort the order of the color in the source image into one long smooth gradient before passing to the program?
It might be…
I isolated that two color and do the testing on the order, but the program didn’t run.
The algo matches color distributions. With two colors there is not much of a distribution, so I don’t think that will work.
Perhaps this explains why the program wouldn’t run for me when I tried to match the end credits of Star Wars.
I’m in the mood to design a 4k/Blu-ray cover for this project, and I thought I would start with a logo. So these are the ideas I had, let me know what you think!
Looking amazing Williarob. Let’s hope you eventually find a 35mm print of GoldenEye in excellent condition, which is IMO the worst looking of all the James Bond movies.
If you want to buy it, I can arrange to get it scanned, and clean it up a bit.
Also see this:
a request for some assistance with Despecialized from Harmy…
Guys - I could use some help - I remember some time ago, someone was working on a shotlist for the SW movies and I can’t find it. But what I’d really need is someone helping me catalogue all the shots that need despecializing and making a system that will make it easier for me to keep track of the shots and what they need done.
My idea is this table, where I could keep track of the progress on all the shots:
So, would I find volunteers, who would help me by going through Doubleofive’s galleries and putting all the shots down in this table and looking them up in GOUT and BD and putting in the timecodes?
When this is done and I start working on v3.0, the plan is to keep the table public, so you guys can check on my progress and every once in a while, when all shots in a sequence have status Pending Final, I want to post the sequence as a work-print and only after I get positive feedback on it, I will mark the shots as final.
This will make you guys more involved again, like in the old times, and it should help keep me more motivated. 😃
Please send him a PM if you can help…
This might help:
I used it to generate a shot list based on frame numbers, which allowed me to write scripts to sort each reel into shots, and generate EDL files that could be used instead of automatic scene detection in programs like Resolve…
Here’s another example:
Looking at the print, the SE DVD and the Bluray, I find myself humming that “One of these things is not like the others” song from Sesame Street…
What you are looking at here is a frame from the Living Daylights, Reel 1 - part of the Exercise on Gibraltar. I find it interesting for two reasons:
- It shows the relative resolution of each medium (SE DVD in the center @ 100%, then the BD @ 100%, then the print scan).
- For the most part, the DVD and the Print agree on the colors, while the Blu-ray is often quite different.
It looks fantastic! I can’t wait, as it’s one of my favorite Bond films and probably the one boasting the best John Barry score alongside “A View to a Kill”.
Timothy Dalton is very underrated as Bond.
Amazing. Every word of what you just said was right. I agree completely 😃
Just create a second LUT and apply it after the first one. It should not affect the behaviour of the first LUT unless it is modifying the same color, and if that is the case you want it to modify that color anyway. LUTs can be stacked, it’s pretty neat, and really easy in After Effects of Resolve.
FYI: Those who can’t get to the Spleen can also search for
and you’ll find a Mega link via reddit
I like it.
Here’s another idea:
@Willarob, are you guys color grading the film in the Rec. 2020 color space?
Yes, I believe we are.
Here’s a WIP cover. Any suggestions for what to change/add?
Looks great! I don’t have any special features so I’m not sure there’s much more to add…
I like it! Very nice.
Darth Lucas said:
Spent a few hours putting this together.
I’m still downloading the nearly 2 TB of frames (it will probably take another 9 days, downloading 24/7 to grab them all) but I now have enough to put together a few samples. Here’s the first, from Reel 2:
This is essentially just the raw scan - the aspect ratio has been corrected and the contrast adjusted, but there’s no digital cleanup or color grading going on here.
Note: The audio is from the laserdisc. The optical audio track for reel 2 hasn’t been downloaded yet - it’s still in the queue!