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Info: James Bond - Laserdisc Preservations: 1962-1971 — Page 23

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There are three Bond 16mm scope prints up on ebay at the moment.

http://www.ebay.com/itm/16mm-Film-87-LIVING-DAYLIGHTS-James-Bond-LPP-SCOPE-/310690071369?pt=US_Film&hash=item4856924349

http://www.ebay.com/itm/16mm-Film-89-LICENCE-KILL-James-Bond-LPP-SCOPE-/380661316909?pt=US_Film&hash=item58a12ebd2d

http://www.ebay.com/itm/16mm-Film-83-OCTOPUSSY-James-Bond-LPP-SCOPE-/310690071380?pt=US_Film&hash=item4856924354

Donations welcome: paypal.me/poit
bitcoin:13QDjXjt7w7BFiQc4Q7wpRGPtYKYchnm8x
Help get The Original Trilogy preserved!

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singhcr said:

Any suggestions as to how to sync this? I was planning on taking the BD's 2.0 audio and using that as a guide for the LD capture. I've tried doing this with The Killer and A Better Tomorrow but I find that the audio goes progressively out of sync. I sent that off to Commodore Scmindlapp and he got it synced but I don't know how you can do that without chopping up the audio into little segments and hearing the edits as you view the movie. The Killer's LD track doesn't do this so I'm a bit lost here.

you need to fill the gab either with audio from before or after the edit or leave it silent.

i suggest that you edit the audio first to sync it and then fill the gabs.

if you have problems using only waveform as a guide, i recommend using video as well. so if you can capture the laserdisc video put it on top of the blu-ray video and sync it based on frames. when you need to edit it, it would follow the same "fill the gab" rule.

you can also share the untouched audio files and someone with more experience will take a look at them.

 

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zeropc,

 

Thanks for the information. I believe I'll ask someone to sync the audio for me as the last time I tried this I spent a good week and didn't get anywhere on it so I'm sure someone who's more experienced would be able to do this a lot faster.

If anyone's willing to sync my captured LD audio to the Blu-ray video (once I can get my ASIO recording woes solved..) I would be most grateful. We could then share the synced audio for those who want to make their own custom BD's.

The only other thing I ask is that the audio remain untouched which means no hiss reduction, etc. Sometimes one side of an LD is louder than the others so that might require an overall volume change to match the rest of the movie but other than things like that I'd prefer to leave the audio as-is.

I have a bit-perfect digital as well 192/24 analog ASIO recording capabilities so I'm sure these will sound very good.

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I've managed to get the digital recording working and I've captured the PCM audio for The Living Daylights. The mix is remarkably clear and detailed. I am curious to see how it compares to the CX encoded analog mix, as I can capture that at 192/24.

I've found out that CX doesn't always turn on even if the disc is encoded for it, so I've ordered a remote as this function is not availiable on the front face of the player.

Unfortunately Live and Let Die is not CX encoded and the first 20-30 minutes are almost unlistenable due to a great deal of hiss and what sounds like a 60 Hz hum due to something not being grounded. I'll have to grab a VHS tape and get the HiFi track from it for that movie.

I'll post more as I progress. Anyone willing to sync these for me?

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I'll be pleased to offer my syncing services, particularly since you've attained bitperfect captures of the PCM tracks (something I don't have the means to do myself). Would you like to PM me to talk about TLD? I'll send you some links to my Ghostbusters, Alien and Mad Max 2 syncs if you'd like to check my credentials!

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Jonno,

Wonderful! Thanks for helping me out. I'll take your word that you know how to sync but I appreciate the offer of the links. I look forward to the PM.

 

 

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If anyone needs their PCM or analog stereo/mono tracks ripped please let me know.

 

 

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Especially excited to hear a TLD PCM track. captainsolo raved about that ahwile back if I remember correctly. The video to sync to from the BD is also pretty decent.

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The Aluminum Falcon said:

Especially excited to hear a TLD PCM track. captainsolo raved about that ahwile back if I remember correctly. The video to sync to from the BD is also pretty decent.

Yeah, I know the feeling!

OHMSS's PCM track has also been captured.

I got a VHS copy of Live And Let Die and am recording that now. If anyone has a PCM version to share that would be preferred.

 

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 (Edited)

After comparing the non-CX LD with the VHS, I'll have to give the nod to the LD for overall fidelity. I guess LALD didn't get a very good recording for home video, which is a shame as the theme song at least sounds stellar on LP.

It looks like all of these movies have widescreen PCM releases, but I only have these for

TLD, OHMSS, Octopussy, YOLT

I have analog sound LDs for

Dr. No, FRWL, Goldfinger, LALD, AVTAK.

For now I'll capture the PCM tracks and hopefully someone here will have the PCM tracks or the LDs to share. If not I'll grab what I have in CX. I thought that the CX analog could sound better than 44.1/16 PCM as analog doesn't have any sampling rate but it seems that digitizing the magnetic masters gives far better sound than digitizing an analog copy of that master at 192/24, assuming both LD tracks came from the same source.

Oh well, whatever sounds best is what I'll take. 


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LALD is fine, it's more likely the older LD transfer you have as many from that era are not the greatest for sound. I have the 1st letterbox release with the digital track dropouts and the errored right digital track that has the isolated score. The sound is perfect save for the dropouts, with better fidelity than my childhood hi-fi VHS tape. It also depends on which VHS release you have, as anything before 1992 with the series is generally not going to sound very good. Also, pan and scan VHS can use a different and inferior master to others. (TSWLM for example.)

The analog and digital tracks are the same on the letterbox series, except FRWL which has an isolated music and effects track on analog right. VHS hifi almost always outdoes the analog audio.

Volume normalization in regards to side changes isn't a bad thing as sometimes mastering errors can occur. The one big problem I've found is on some titles there is inherent crackling distortion in the very high frequencies which I wouldn't be sure how to address.

The only other thing with the letterbox LD series is the occasional loud pop or artifact in the audio that I've found. IIRC it's only From Russia With Love that has inherent hiss. (Which is not bad, simply noticeable) OHMSS on my copy has some very loud pops in Side 3 which seem to be inherent to the source.

If we can start the process of syncing these, it's the first step towards the ultimate goal. I have most of all the necessary titles BTW, I just haven't had the means to do a capture. Personally, I'd love to either sync to the SEs and go down a route similar to ProjectBlu in correcting them, or see if there's a possibility of correcting the UE/BD.

Also note: MGM releases used the magnetic track master audio so these should be used as primary sources.

As it stands this is the audio needing preservation:

Dr. No, FRWL-mono PCM from MGM as the Criterion is a print source.

Goldfinger-MGM PCM for master source, but Criterion for title song in mono and excised frames missing since 1991.

Thunderball-mono PCM from MGM, having to source from both 1989 and 1991 Connery Collection to cover a mastering error on each. Dolby surround remix from 1995 CAV set or 1998 THX disc. 5.1 LD remix from THX disc.

YOLT, OHMSS, DAF-mono PCM from MGM.

LALD-mono PCM from 2nd MGM issue. Plus the mono isolated score on the digital tracks of the 1st recalled issue may be of interest.

TMWTGG-mono LD PCM. Very clean btw.

TSWLM-Dolby surround audio is good on 1st MGM letterbox release, may have been improved on later THX version.

MR-brilliant clear surround audio on 1st letterbox issue, not sure about THX version.

FYEO-MGM PCM. The best mix is this original Dolby surround but has some of the HF distortion.

OP-MGM PCM. Also has this odd light HF distortion.

AVTAK-MGM PCM. Ballsier and beefier sounding mix.

TLD-MGM PCM. As previously stated, this is indeed a great and detailed mix, so thanks for the capture! It should be pretty easy to sync as there are no edits or tweaks to the newer transfer.

LTK-I have the Fox letterbox release and have not yet to been able to compare to the MGM reissue. The Fox audio is good, but the MGM may win out due to being several years newer. Plus the Fox is a rotter.

GE, TND,TWINE-DTS is ongoing in the theatrical DTS thread. The LD versions may have different bitrates. Dolby 5.1 is the same just mixed differently for the rival system. For complete purist's sake we'd also have to do the Dolby surround downmixes as in the 90's not every theater was digital capable. And some are mixed differently too. (GE has different sound emphasis.)

DAD-is like TWINE, both were Dolby EX/DTS ES releases.

CR '67-LD PCM mono.

NSNA-LD PCM Dolby surround.

VADER!? WHERE THE HELL IS MY MOCHA LATTE? -Palpy on a very bad day.
“George didn’t think there was any future in dead Han toys.”-Harrison Ford
YT channel:
https://www.youtube.com/c/DamnFoolIdealisticCrusader

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You are welcome. You can cross TLD, YOLT, OHMSS, and OP off the list as I have all but OP captured already from the MGM LD's.

Update: OP has been captured.

 

 

 

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Fellas, I'm just looking at the sync on TLD and have a quick question about the opening logos. The Blu-ray (which I seem unable to grab from at the moment - sorry) has an 80s/90s MGM 'Lion' logo which segues into the simple blue UA ident.

The laserdisc audio doesn't match, however - it seems more in keeping with the 'continuous' logo seen on the SE DVD, which looks like this:

 photo TLDUADVD.jpg

And then there's another variant of this on the VHS, it seems: http://www.youtube.com/watch?v=7WDFJXz8U84

So I guess the question is, what does the laserdisc use, and which is the most theatrically authentic?

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Yep, the LD uses the continuous version of this logo. I just checked the disc and it segues straight into the UA blue letters as this was the original MGM/UA logo done for the mid to late 80's.

EDIT: I got a bit keyboard tied. The LD uses the MGM Communications into the red bar zooming out blue UA letters, NOT the simple blue text version.

http://www.youtube.com/watch?v=Z7YFG5BYkdE

The VHS version is from the 80's CBS/FOX VHS which has the same logo just with added Fox copyright and the Red Cross disclaimer that is on some video versions and may have been theatrical. For some reason the LD does not have this and is directly print sourced. (not the logos from what I can tell)

TLD would be the film to use this as it was correct for 1987 when this logo was introduced. The silver MGM/UA Communications Co. would only be on TLD and LTK as this lasted from 1987-1990.

AVTAK had the logo which had a line reveal into the UA letters. Octopussy was the last film to have the old MGM/UA Lion logo.

I didn't think the BDs were different from the UEs logo-wise and for legal reasons, all new transfers have the new digital Leo logo with the 2006 or newer variant on the silver UA letters.

http://www.myfilmviews.com/2012/03/15/the-story-behind-the-united-artists-logo/

VADER!? WHERE THE HELL IS MY MOCHA LATTE? -Palpy on a very bad day.
“George didn’t think there was any future in dead Han toys.”-Harrison Ford
YT channel:
https://www.youtube.com/c/DamnFoolIdealisticCrusader

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Thanks Captain. I think the best solution is to maintain the matching audio for the 'revised' logos for the first few seconds to properly match the Blu picture, but offer a replacement logo BDMV - upscaled from my PAL DVD shown above - for those who are fussy about such things.

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Ah, so the version used on the VHS then. Any idea of a good quality source? DVD will be fine...

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This is slightly off topic, but how do I capture a Dolby Surround PCM track? Aren't the surround flags lost if I do a "dumb" stereo recording?

 

 

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If anyone has a way of capturing it Sky in the UK are showing Skyfall open matte. May come in handy in future 

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 (Edited)

16:9, I presume?

This signature uses Markdown syntax, which makes it easy to add formatting like italics, bold, and lists:

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singh, you need to reencode like in dts-hd ma to put the surround flags back. Then the track is correctly tagged. That's what I did for the Alien LD tracks.

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Stamper said:

singh, you need to reencode like in dts-hd ma to put the surround flags back. Then the track is correctly tagged. That's what I did for the Alien LD tracks.

Thanks!

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Asaki said:

16:9, I presume?

Yepd oes not look bad either   

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hey guys.

i won the auction for tldl and tswlm (both deluxe ws edition - white cover). if you need the pcm i can give the lds , when they finally arrive, to zeropc. he has the capture tools i currently lack.

let us know.

cheers :)

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bendermac said:

hey guys.

i won the auction for tldl and tswlm (both deluxe ws edition - white cover). if you need the pcm i can give the lds , when they finally arrive, to zeropc. he has the capture tools i currently lack.

let us know.

cheers :)

Sounds great!

I have captured the audio for The Living Daylights (I assume that is what TLDL stands for?) and Jonno is syncing it to the BD video already. I can capture the TSWLM PCM audio if zeropc does not have the time to do so.

Chris