Originally posted by: Dunedain
Also, might I suggest that the method used by seventiesfilmnut of not applying any normalization or filters be used when transferring the soundtrack, so as to preserve exactly how the PCM Definitive Collection soundtrack is supposed to sound.
It is an exact clone of the Laserdisc digital audio stream upconverted to 48K. Nothing has been altered.
Synchronization is done. Once lined up, it will synch to the DVD audio exactly sample for sample from start to finish. The only thing I am unable to confirm is if the DVD audio drops any samples at the layer change. If so, the synch would have to be readjusted at that point. As for the initial lining up of the file with the DVD, I have no definitive suggestions. Even if the AC3 delay value is applied as Moth3r suggested, there’s no way to know if the actual AC3 audio starts exactly at the first audible bit of the Fox fanfare or has some indeterminable amount of silence that precedes it. I would suggest that if there is any way to audition the AC3 audio and the new audio side by side, that it could easily be arrived at by ear. A popular method is to: using headphones, listen to the first source panned to one ear and the second source panned to the other. Slide the source to be synched to match the other. When you get the two exactly in synch, the combined sound should appear to becoming from a point dead center between the ears.
Originally posted by: Mentor
Belbucus, will you be including the original stereo and mono versions on the disc too?
Also, might I suggest that the method used by seventiesfilmnut of not applying any normalization or filters be used when transferring the soundtrack, so as to preserve exactly how the PCM Definitive Collection soundtrack is supposed to sound.
It is an exact clone of the Laserdisc digital audio stream upconverted to 48K. Nothing has been altered.
Originally posted by: Dunedain
How is the synchronization going, how closely are you able to match it up to the exact same soundtrack synchronization to the video that the official DVD set has?
How is the synchronization going, how closely are you able to match it up to the exact same soundtrack synchronization to the video that the official DVD set has?
Synchronization is done. Once lined up, it will synch to the DVD audio exactly sample for sample from start to finish. The only thing I am unable to confirm is if the DVD audio drops any samples at the layer change. If so, the synch would have to be readjusted at that point. As for the initial lining up of the file with the DVD, I have no definitive suggestions. Even if the AC3 delay value is applied as Moth3r suggested, there’s no way to know if the actual AC3 audio starts exactly at the first audible bit of the Fox fanfare or has some indeterminable amount of silence that precedes it. I would suggest that if there is any way to audition the AC3 audio and the new audio side by side, that it could easily be arrived at by ear. A popular method is to: using headphones, listen to the first source panned to one ear and the second source panned to the other. Slide the source to be synched to match the other. When you get the two exactly in synch, the combined sound should appear to becoming from a point dead center between the ears.
Originally posted by: Mentor
Belbucus, will you be including the original stereo and mono versions on the disc too?
The mono version is close to the end of an extensive restoration effort – removing noise and replacing sections of missing or deteriorated audio. After that, comes a fairly lengthy process of synching it with the DVD audio. The original stereo is done except for the same process to synch it to the DVD. The DC/Faces Laserdisc audio was fairly quick and easy as it was essentially the same digital file as the DVD and only fell out of synch twice during the entire run. If things turn out to be anything like the experience I had preparing the 70mm to ’93 mix comparison (http://www.originaltrilogy.com/forum/messageview.cfm?catid=9&threadid=6501), the synching of both the mono and original stereo tracks will need to be time adjusted in sections of as little as 20 to 30 seconds long for the entire length of the film to achieve an exact lock. It’s a good deal of work, but it goes faster than you would think. If I had nothing but this to work on all day, I could do each one in about a week.