Originally posted by: Moth3r
).
Do you have the japanese laserdisc of TPM? Apparently the 5.1 mix on that disc is more powerful and has better dynamics than the mix that was on the DVD (you could speculate that it was the true theatrical mix, downsampled to 384kbps, rather than the "remixed for the home" effort that was used on the DVD). Therefore, the optimum TPM fan-authored DVD - for those so inclined - would contain HD2DVD downconverted video (because the original video on the NTSC DVDs suffered horrendous edge-enhancement) combined with the AC-3 track sourced from the laserdisc. Just an idea...
Originally posted by: Karyudo
I first captured the AC3 from the 1997 SE in about 2002. I can't believe it's this long later, and I still haven't really done anything with it!
Did you have anything planned for it? It might contain useful material for a 70mm mix re-creation (you and Molly should talk, if you haven't already I first captured the AC3 from the 1997 SE in about 2002. I can't believe it's this long later, and I still haven't really done anything with it!
).Do you have the japanese laserdisc of TPM? Apparently the 5.1 mix on that disc is more powerful and has better dynamics than the mix that was on the DVD (you could speculate that it was the true theatrical mix, downsampled to 384kbps, rather than the "remixed for the home" effort that was used on the DVD). Therefore, the optimum TPM fan-authored DVD - for those so inclined - would contain HD2DVD downconverted video (because the original video on the NTSC DVDs suffered horrendous edge-enhancement) combined with the AC-3 track sourced from the laserdisc. Just an idea...
I like this thread and it needs simplified pictures, edited in at the beginning, to show how to do this in the simplest of ways.
Star Wars was realised in what is called a (road show) realise 70mm six-track Dolby stereo with baby boom track and monaural surrounds or (format 42). The front channels where all discrete full spectrum sound along with the surrounds.
The format of the 70mm print helped the projectionist to select the correct setting on the Dolby CP-100 processor at the time and in later years around early 1980’s the Dolby CP-200 was introduced and is still in common use in the best sound cinemas to this very day.
So you can ticker around with the mix on the (1997) version of Star Wars special edition and besides there’s no way of telling which parts of the split-stereo surrounds that where created for the (1997) Dolby digital or 5.1 mix there’s no reference marks to tell us what the (original monaural surrounds) sounded like back in (1977).
Only Ben Burtt and the re-recoding mixers know that, if they can remember that far back?
One other thing you have to remember with 70mm Dolby six-track is, that some of the channels may not be carrying sound information, for example the surrounds may not always be active as they are on the 35mm optical Dolby stereo because of the nature of the (matrix decoding circuitry) generates cross-talk between adjacent channels so the surrounds on the 70mm Dolby print may have different musical sound notes! As to those playing at the front including sound effects.