Spaced Ranger said:

But we'll never find out because, while trying a quick search for that interview (which failed)...

Well, it's not that important, I were just a bit curious. Wasn't aware that an interview with her existed. It can remain a top secret for all I care.

AntcuFaalb said:

Update: I re-captured all three of my THX 1138 LDs with the DPS-575 and, despite my initial praise, have some reservations about the results of the 3D CF in "normal" (of low/normal/high/extreme) mode.

The first frame of every significant shot change (e.g., dark to light; red to blue) has SeriouslyScrewedUp™ chroma; everything else looks fine otherwise.

The question at this point is: Do I accept this result and move forward or should I re-capture with the DPS-575 in 2D adaptive mode instead?

The best solution is, of course, a combination of the two. I can re-capture with the DPS-575 in 2D adaptive mode and then replace the SeriouslyScrewedUp™ frames with ones from it, but I don't really have a shot change detection algorithm I trust at the moment and I'm not willing to go through this entire thing to come up with a shot list.

Thoughts?

In better news: I have found the best denoising algorithm I've ever seen in an extremely expensive (read: thousands of dollars) program I use regularly. It uses some of the best motion estimation algorithms in the biz and I can't force this thing to smear. It's wonderful.

Thanks for the update. Besides being trademarked, how does the seriously screwed up chroma look like in pictures, good old fashioned smear artifacts?

The idea of a B&W encode of the Warner Cut sounds terrific as a first quick way to get it out there. Keep up the good work Poita and Antcufaalb! :)