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alexp120

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16-Feb-2015
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17-Feb-2018
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318

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Post
#1018404
Topic
The Original Trilogy restored from 35mm prints
Time

oohteedee said:
here is what I discovered are missing frames of the reel scans
comparing against the bonus DVD gout version

oohteedee said:

My DVD gout may have the frame numbers off but look at frame 15496 on reel 3 as a reference to the frame I mean. On my gout it’s duplicated. I viewed the gout in QuickTime 7 on my Mac as that version shows a frame count.

I think another problem is that one is comparing the 35mm scan that is displayed at 23.97fps (frames per second) against a DVD that is displayed at 29.97fps.

All NTSC DVD videos are displayed at 29.97fps. Motion Pictures are displayed at 24fps. Speaking in lamen’s terms, to release a motion picture on DVD, a 3:2 pulldown scheme is used where a frame of a film is duplicated on 2 to 3 video frames (or fields) on a NTSC video in order for the video to match the film’s running time—for every set of 2 video frames that a single film frame is duplicated, a set of 3 video frames duplicates another single film frame.

That is why, oohteedee, you are getting duplicate frames on the DVD. You should be comparing the 35mm scan against Harmy’s Despecialized edition of the film. Both of them are displayed at 23.97fps.

This post has been edited.

Post
#1017686
Topic
Amadeus - Theatrical Cut Restoration 1080p (V2)
Time

If you look at the Nov. 5th post of this thread…

http://originaltrilogy.com/topic/Amadeus-Theatrical-Cut-Restoration-1080p-V2/id/16803/page/15

zxthehedgehog said:
…If anyone else wants it, just send me a PM instead of using this thread.

So, try PM’ing that member.

Also, from this very page…

zxthehedgehog said:
You may not be able to get in touch with jimbotron235, but Handman, myself, and a few others still send out PMs for it.

I hope all this helps.

This post has been edited.

Post
#1014492
Topic
Star Wars-Episode I: The Phantom Menace print on sale at 35mm Forum
Time

…and that is all I can say, as per poita’s advice

poita said:
…please don’t post images or names from the 35mm forum here, it will get people banned from the 35mm forum.

So, I hope there is someone in or out of that forum that can be a hero and get it.

P.S: I would not dare disobey a person that is restoring a Star Wars print 😃
Edit: Just realized I posted in the wrong topic. That is what I get when I’m in a hurry to finish erands. 😠

This post has been edited.

Post
#1012835
Topic
Missing Frames From Release Prints, But Not Caused by Damage
Time

Folks here in this forum have been blessed with getting access to video scans of release prints from their favorite films. Almost all the scans feature an audio of the print’s optical sound track. Although the optical track is appreciative for preservation, some of us would like to enjoy the quality of the print through better sound quality, like from Blu Ray, DVD, and/or LaserDisc versions, so, we attempt to mux one or more of these audio tracks to the video scan. After doing that, we find that the audio tracks won’t play in sync with the scan because the source—the release print—has missing frames. So, we either edit the audio to match the length of the scan or we extended the video to match the audio tracks—via black frames, duplicating one or more frames, etc.

We all know, by now, that one cause of why frames are missing from a release print is because of the damage that print gets through excessive playing through a film projector. After a while, the film breaks apart during projection; a frame, or two, is torn; and the two pieces of film are taped together. Other times, frames at the head or tail ends of a film’s reel are damaged because of an operator’s constant taping together and later removing a long strip of black leader used to thread to an empty reel for a projector.

This brings me to the another cause of missing frames—one that I would like an explanation to. These missing frames only appear in the home video releases and are not on the release prints. In the release prints, these missing frames occur either in the beginning of a shot or at the end of a shot. In the frame where a missing frame would either follow or precede, it has no evidence of damage –dried-on adhesive markings, a torn frame that is poorly pieced together, etc. Even if you purchased a film print where all the frames of each reel are complete, frames that appear in the home video edition would be absent from the print. Because of this, one would not be able to sync this complete print to any audio mix of any home video version unless you either edit the audio to fit the print or add frames on the scan of the print to fit the audio.

Here are some examples.
RAIDERS OF THE LOST ARK (1981)
Here is the last frame of a shot from the release print (at 00:05:04 from Litemakr’s release)

Notice the position of Indy’s hammer.

From the Blu Ray, here is that same frame (00:04:11).

…followed by this next frame, not seen in the release print.

…and that is the last frame of this shot.
Now see all these frame together below.

Here is the last frame of another shot from the release print (00:50:59)

Notice the front-end cap of a German soldier that is about to appear.

Here is that same frame, as seen in the Blu Ray (00:50:09).

…followed by this theatrically unreleased frame.

Now, we have a face that goes with that cap.

EMPIRE STRIKES BACK (1980)
Here is the first frame of this shot from the release print (00:41:33).

Notice the position of R2’s red light on his dome in relation to his barrel.

On Harmy’s Despecialized Edition, here is the first frame of this same shot (00:41:33). Now look where his red light is.

This frame and 3 others, seen below, did not show up on the release print.

Our own Mavimao gave a detailed description on the process of creating release prints from the camera negative which you can read here, but here is my version of the process in a nutshell:

  • In a film processing lab, technician takes reels of the original camera negatives and cuts them into pieces
  • Technician edits the pieces together to match the edited work print
  • Technician takes edited camera negative and makes a high quality print of it called an interpositive
  • Interpositive can either be used to make release prints, or, for safety, make a negative out of that print called an internegative and use the internegative to make release prints.

I would think that the interpositive would be used for both theatrical runs and for home video releases. If so, why are frames from the edited camera negative left-out from the release prints but appear in the home video versions.

  • Did the lab’s equipment, somehow, overlook certain frames from the camera negative when making the interpositive?
  • Are the procedures for distributing a film different between making a release print and a home video master that frames get missing in the release print?

Please enlighten me.
Thanks.

This post has been edited.

Post
#1008865
Topic
Project #4K77
Time

Williarob said:
I don’t know about you but I’d rather have a single slightly blurry frame than a black Flash!

Amen to that!
Having a sudden black Flash occur in a darkened room while watching a movie is like a painless, yet irritating, version of getting both your eyes poked.

However, I do respect your decision on using black frames as a last resort.

Post
#1008827
Topic
Yet another HDTV based project...
Time

towne32 said:

There is an episode II 35mm print on ebay. It’s relisted after failing to sell for $750 last week. I’m not saying it’s worth it at all (for about 4 shots of the worst Star Wars film ever 😃 ), just that it’s the only way of making a theatrical AoTC.

That movie was originally shot on a digital camera, not on film. Even if the print can be purchased and scanned, can the quality of the film frames, transferred from a digital file, can match the video that we have here?

Post
#1006211
Topic
team negative1 - star wars 1977 - 35mm theatrical version (release details and updates)
Time

The number of frames in the Silver Screen v.1.6 is the same as Harmys 2.7 and each frame from both editions have the same frame number. ( JEDI TRANSLATION: Both editions are GOUT sync’d to each other).

So, the answer to your question is yes—-all the audio options from Harmy’s 2.7 will play in perfect synchronization with the Silver Screen v.1.6 when muxed.

Post
#1001861
Topic
Project #4K77
Time

Williarob said:
At that point, a grindhouse version would be the way to go. In the meantime I can assemble the Grindhouse version in parallel to the cleaned up version which will be considerably easier.

I’d welcome a grindhouse version, even with the accumulate print-dirt and skip-frames. Might as well throw a bone to Disney and have them do a proper GOUT UHD release. 😃

This post has been edited.

Post
#996977
Topic
Harmy's RETURN OF THE JEDI Despecialized Edition HD (AVCHD DVD9 & NTSC DVD5 available!!! SEE FIRST POST!!!)
Time

I’ve just uploaded a DTS audio file for the GOUT version of Jedi with 5.1 channel 1997 Special Edition audio mix. I have edited the audio file to play in sync with this release.

To patch over certain GOUT footages where the SE audio would be inappropriate, I’ve used the film’s 1983 theatrical mix found in the 5.1 channel DTS audio stream of the Despecialized Edition. So, these audio files are 97.14% SE97 audio and 2.86% of GOUT audio.

I also made one for Harmy’s Jedi Grindhouse 35mm LPP.

Like all my other edited SE97 audio files, found on the ‘spleen, the source of the 1997 SE audio was from CapableMetal DTS files, found on the ‘spleen, where it was made from the Cinema DTS CD-ROM discs (from the collection of Jetrell Fo). The data from the discs was encrypted to 6 mono PCM wave files representing each channel of the film’s surround soundtrack. CapableMetal processed and sync’ed each of the 6 files to fit TB broadcasts of the SE97, so, the SE97 mix presented in this audio file is from CapableMetal’s work and I appreciate his effort and for his sharing, as well as, to Jetrell Fo for obtaining the discs.

This is just another way to view the GOUT version.

The reason for 2 audio files of the same film, featuring the same content, is because the difference in length of these Harmy releases. The DE 2.5 is the longest of the videos while the the Grindhouse version is a minute and a quarter shorter, despite the fact that it has been “NTSC GOUT sync’d” by way of black frames as substitutes for the missing frames of the release print. The only difference in my audio files is how I arranged the end credits music. I’ll explain.

In the GOUT version of ROTJ, John Williams’ original music for this film’s end credits was edited to fit the length of that version’s credit roll. For the film’s Special Edition, the length of the end credits was extended, so, Williams’ end credits music was almost restored–the edit in the Rebel fanfare at the start of the end credits from the GOUT version was retained in the SE97. Also, to accommodate the extra length of SE97 end credits, a portion of music for that roll was repeated—the Ewok music portion.

For the DE version of the audio file, I’ve removed that duplicate Ewok-music portion of the SE97 end credits edit. Despite the shortening, the music will still go past the official end credits and into the Despecialized credits, but the music will finish before those credits end.

For the Grindhouse version, using only the SE97 audio elements, I’ve recreated the end credits-music edit from the GOUT version.

FAQ:

What happends if I use the DE audio file for the Grindhouse?
Eventhough, the audio will play in-sync with the video, when the video reaches the end-the final video frame, the screen will go black and the timecode counter will stop, but the audio stream will continue until it reaches its end. That means you’ll hear music over Harmy’s “special-thanks” credits and when that is done, the music will continue until it finishes. *

OK, so, what happends if I mux the Grindhouse audio with the DE video?
Well, audio will play in perfect sync with the DE video. When the audio stream reaches its end (being that it’s shorter than the video), the video will play with no sound until it reaches the final frame. *

*= based on what I found when using my MPC-HC media player.

So the long and the short is that because both the DE and the Grindhouse have been sync’d together, whichever audio file you choose to download it will play in perfect sync with both videos, it is just a question of how much music from the end credits do you wish to have.

Enjoy.

This post has been edited.

Post
#992429
Topic
Raiders of the Lost Ark HDTV 35mm LPP regrade
Time

Hey, anybody remember this vinyl album?

This album came out at the time of the film release. I bought it back in ’82 and it has been in my collection ever since. Inside the album, in addition to the record, is a booklet with color stills from the movie.

Among the photos are some stills that were taken from a print of the movie. I’ve made a scan of these photos and I’m presenting them here for examination of the print’s color timing







Post
#992098
Topic
Harmy's THE EMPIRE STRIKES BACK Despecialized Edition HD !!!MKV and AVCHD v2.0 NOW AVAILABLE!!!
Time

I’ve just uploaded a set of audio files for the GOUT version of Empire featuring the 1997 Special Edition audio mix in DTS 5.1 channel sound. I have edited each audio file to play in sync with the following presentations:

  • Harmy’s The Empire Strikes Back Despecialized Edition 2.0
  • Team Negative1 - The Empire Strikes Back 1980 - 35mm Theatrical Version (aka, Renegade Grindhouse ESB)

To patch over certain GOUT footages where the SE audio would be inappropriate, I’ve used the film’s 1983 theatrical mix found in the 5.1 channel DTS audio stream of the Despecialized Edition. So, these audio files are 98.41% SE97 audio and 1.59% of GOUT audio.

The Special Edition mix is sourced from CapableMetal’s DTS file that was made from a set of Cinema DTS-CD ROM discs from the collection of Jetrell Fo. The data from the discs was extracted to a set of 6 PCM mono wave files representing the film’s surround soundtrack. Each audio file was processed and sync’d to fit TB broadcasts of the SE97 edition by CapableMetal, so, the SE97 mix presented in this audio file is from his work and I appreciate his effort and for his sharing, as well as, to Jetrell Fo for acquiring the discs.

FAQ:

Wouldn’t one audio file work with both the DE 2.0 and Grindhouse?

Well, let me start-off by saying that both videos are different in length.
The Renegade Grindhouse ESB is a scan of a theatrical release print and that print has missing frames from the GOUT version. By the time you get to an hour and 44 minutes into the movie (after the lightsaber duel at the carbon freeze chamber), 3 and a quarter seconds worth of footage would be missing from the print.
The Despecialized Edition runs over a minute and a half longer then the Grindhouse. Not only does this edition have the GOUT version uncut, but after the film’s official credits are done, a set of credits for this edition are displayed that add-on to the video’s length.
So, one audio file will not work for both releases because the audio will not be in good sync with one of the videos. That is why I’ve prepared an audio file for each version.

Kk650 released his color regrade of this film with the Cinema DTS Special Edition audio. Could I just mux that audio to either one of the said videos?

I suppose you could. As I do not have kk650 video, I can not say for certain. You would have to check the length of both kk650’s video and Harmy’s. If there is a difference, you would have to play with the audio delay to get a good sync. Here is a suggestion: Cue up both videos to the first frame where the Star Wars logo image appears, get the timecode position of that frame from both videos, calculate the difference from the timecode positions, and use that value–in hh:mm: ss:mmm—in your muxer’s delay adjuster. If it works out for you, then you do not need my DE audio file. If you do not want to do all that work, my file has done it for you.
However, for the Grindhouse version, I would bet that kk650’s audio would not be in good sync, especially by the time that video reaches the hour and 3 quarter mark because of the release print’s missing frames.

Enjoy.

This post has been edited.

Post
#990961
Topic
team negative1 - star wars 1977 - 35mm theatrical version (release details and updates)
Time

Just a heads-up:

I’ve prepared a 5.1 DTS audio stream for the said release that contains the Special Edition ’97 mix of Star Wars:ANH with hairy_hen’s reconstruction of the 1977 70mm 6 track to patch up GOUT footages that the SE 97 audio would appear inappropriate. So, this audio stream is 95.47% of SE audio and 4.53% of GOUT audio

The audio has been edited to play in-sync with not only this release, but, also, Harmy’s Star Wars: Despecialized Edition 2.7

This is just another way to view the GOUT version. It can be found on the ‘spleen.

I’ve made these edits from the DTS-HD MA file, found on the 'spleen, provided by CapableMetal (not to be confused with the unprocessed and unsync’d wave files of the SE’97 trilogy also found on the 'spleen and provided by CapableMetal). The source of the SE’97 audio came from the Cinema DTS CD-ROM discs (from the collection of Jetrell Fo) where the data was encrypted to 6 mono PCM wave files representing each channel of the surround soundtrack. CapableMetal processed and sync’d each of the 6 files to fit TB broadcasts of the SE97, so, the SE97 mix presented in this audio file is from CapableMetal’s work and I appreciate his effort and for his sharing, as well, to Jetrell Fo for obtaining the discs.

After completing the file, the thought occurred to me that kk650 had released his color regrade of the Star Wars OT with the Cinema DTS audio of the SE97. I do not have these so I am not sure the audio can be played in sync with DE 2.7 or the Silver Screen v1.6. But I did the work anyway just for the fun of watching the ’77 release with the ’97 audio, so, I think that this is how one should approach it.

For what it’s worth, enjoy!

This post has been edited.

Post
#990419
Topic
Alien/Aliens Color Regrade
Time

Since that film was released in the 1970’s, that was the standard surround sound configuration at that time–left(1), center(2), right(3), and 2 mono surround channels.

You can read more about here:
Dolby Digital 4.1 Surround - Alien Anthology

Edit:
I meant to say that the 4th channel is used for surround and that signal would have been sent to what ever number of rear speakers that auditorium had.

This post has been edited.

Post
#989719
Topic
The GOUT Sync Thread
Time

From my reading, are you trying to add the German audio from Laserschwerts (Krieg der Sterne Despecialized Edition 2.5) to the video of official GOUT DVD?

Post
#989669
Topic
An Interview with an employee of CBS/FOX Video
Time

Joshua724 said:

As much as I applaud fan efforts to preserve the pre-SE audio tracks via the laserdisc, they pail in comparison to the cassette recording my dad did while at CBS\FOX. I appreciate any and all offers to transfer the cassette we have to a digital format for later use. After talking with my dad, even though he did the recording for me (something that he could hand down) and I could do with it what I want, he made it conditional because it was meant only for me. But, we decided to purchase our own metal tape deck and plan on digitizing the track that way. I’ll figure out how to make it available after that. As far as which version it is, it’s before the SE. So, what does it matter? But, if you need a date, call it the CBS\FOX 1984 version of ESB.

I was inquiring as to how this project is coming out.

Post
#989208
Topic
Movies available with isolated dialog and sound effects.
Time

There is that 1999 DVD release of Alien (1979) that has the production audio in one of the audio tracks, but the audio is not complete, as that track also has a few alternate music score cues. That feature has not been carried over to the 2003 DVD release nor the blu ray release.

Post
#986887
Topic
RELEASED: Raiders of the Lost Ark 35mm LPP Theatrical Experience - v1.0
Time

litemakr said:

alexp120 said:

To enhance this rare LLP theatre experience, I’ve uploaded on the ‘spleen a folder containing audio files of sound mixes of the film that have been edited to play in sync with this release.

Rather than duplicate the unintentional splicing of the release print’s optical soundtrack caused by damaged missing frames, these edits were made to polish the transition over the skip-frames so that you can better immerse yourself into the movie.

The audio options are as follows:
5.1 channel, DTS-HDMA mix from the official 2012 Blu Ray release. [dts file]
2.0 channel, Dolby Surround-encoded, 1981 theatrical mix sourced from the 1989 Japanese, Full-Screen, LaserDisc release (WAV file)*
2.0 channel, Dolby Surround-encoded, 1992 mix for the US, Wide-Screen LaserDisc release (WAV file)*

All you have to do is mux these files to the MKV video and you are good to go.

Bear in mind that each of these audio files includes the length of the introduction that proceeds the film, so, for best results, apply these files to the original video file that came with litemakr’s release

*audio files were made possible by schorman13 from his Indiana Jones LaserDisc Archive. My thanks to schorman13 for capturing the LD’s audio, for sharing, and for maintaining the archive.

Enjoy.

Awesome, thanks! If you have some extra time, the DVD mix should be included. That is a 5.1 version of the original 70mm 6 track mix. Pretty much the same as the wowow mix but less compressed. I prefer it to the blu-ray mix, which is a bit too remixed for me.

Just uploaded the edited 5.1 Dolby Digital track from the 2008 DVD.

Enjoy.

Post
#986267
Topic
RELEASED: Raiders of the Lost Ark 35mm LPP Theatrical Experience - v1.0
Time

litemakr said:

Btw, alexp120, the blu-ray mix is not synched up correctly in your release. The audio is ahead most of the time. The LD mixes seem correct.

When I was editing the audio files I didn’t use any delay. All I did was remove audio material and made sure that the length of my audio edits matched the length of your video.

When I played your video with my audio edits muxed-in on my computer via MPC-HC, the audio tracks, including the DTS track, were all in sync perfectly. However, when I played it through my OPPO Blu Ray player’s USB port (from my portable hard drive), I did use my Onkyo receiver’s A/V Sync feature to sync them up. My receiver always has issues with the audio not being in-sync with the video from my Blu Ray/DVD player whether its playing a physical disc or material from a USB port.

So, the solution: you may have to adjust the audio delay in your media player or audio receiver to get it in-sync with the picture.

This post has been edited.

Post
#983429
Topic
RELEASED: "Star Trek: The Motion Picture (Special Longer Version)"
Time

RayRogers said:

Jetrell Fo said:

RayRogers said:

This would be great to put in with the Blu-ray release which I’d also have the Director’s Edition DVDs included. Grabbed the .torrent file from MySpleen.

When I cap my VHS I will pm a mod about the upload but since it is OOP AND not in the release chute anytime soon for Bluray, I don’t see an issue uploading it once I’m ready to.

All I’d need to do then is just buy more Multi-Disc cases. Because I’d also have the OST CD release with it too. So far it’d be a grand total of 4-5 discs? Disc 1 - TMP Blu from Paramount, Disc 2 & 3 - TMP Director’s Edition DVD release, Disc 4 - TMP (Special Longer Version) Widescreen Custom DVD, and Disc 5 - OST CD.
For the VHS-to-DVD of the Special Longer Version, I’m expecting a DVD-DL. But it’d be best if it were the LD, depending on whichever captures in higher quality.

'Better make it 8 discs. You’ve overlooked La-La Land’s 3-CD set of the expanded OST

It’s still in print.

Or you can condense it to 7 discs by removing the single soundtrack CD release. 😉

This post has been edited.

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