101_303

Hahaha, you are right, you can even hear it in the original, whatever it is!

https://www.youtube.com/watch?v=pYwNmTSU81U

Hi, at 08:31 you can see (and even hear the very beginning of a word!) that Kenobi was going to speak in the elevator, but it jarringly cuts to the next scene. If it was cut just a few frames earlier before Kenobi would open his mouth it would have been perfect.

Just a note: The AVC of the Matrix Reloaded HDTV cap is just a re-encode of the MPEG2 one as far as I could tell last time I checked them.

Because it wouldn't sell well enough to cover the massive cost.

Dunno, re-encoding the DTS track hardly seems optimal to me. Maybe it should be released in FLAC as well :P

jerryshadoe said:

Wasn't claiming to be your friend, but that I got the WORKPRINT audio from a special friend.

You wouldn't happen to have the workprint video as well? ;P

Jetrell Fo said:

101_303 said:

I have to assume this is on myspleen. Since apparently there's no way to get access there for us mere mortals (hint: help a brother out!)

 

http://originaltrilogy.com/forum/topic.cfm/Once-upon-a-time-on-MySpleen-Now-with-OPEN-REGISTRATION/topic/12652/

There is a specific thread for your request.  That is where it needs to go.

:)

Fortunately in the meantime I've been invited [ yay!! ;) ] but since it's the second time I'm being directed over there I'd like to point out the link is useless because:

a) The OP directs those interested to PM him for an invite but his PM inbox has been full since at least July.

b) The thread has been locked since late October.

In short, currently there's no way to request an invite associated with that thread.

[/offtopic]

_,,,^..^,,,_ said:

About scenes with artifacts: I screened the movie not twice, not three times, but FOUR times - each time revising few shots; plus, another person watched it too, and he found shots with artifacts, where I found others; at the end, only some shots were discovered by both, and the others were different... you have a very good eye! Your help will be really appreciated!

About the re-encoded track: even if I agree, that masses don't care about one or other nicknames, nonetheless some credit doesn't harm anybody, don't you think? (^^,) the fact is, if he's a friend of mine, why doesn't he contacted me before his release? I have no problem with that, but I repeat, a simple reference to the original project would have been nice - even if a .nfo or .txt with the description would have been better...

1) I know these movies like the back of my hand so once I figured out bright lights cause the artifacts all I had to do was to check those scenes that from memory should feature bright lights :P

2) I agree, of course!

But regarding the "workprint audio", was this in your release as well, or not?

3) Here is another scene where the artifacts stay on screen for many many seconds:

_,,,^..^,,,_ said:

You know what? I'm happy my work is spread over the net; at the same time, it's sad that someone (me) worked to a project like this for months, and someone else "stole" its work without tell him something, or at least leave the project's original name inside the new re-encoded file... Yes, this is a free project open to all, but a simple "thematrixwhateverdescription[spoR].reencoded.by.Shadoe" will be better... who's "Shadoe"?!?

I know what you mean, but we of the OT community all know who did all the work :) To the masses a name means nothing, whether that's your own tag or someone else's.

BTW from his description:

AUDIO:

English Cinema DTS, DTS 5.1 1510kbps, 48KHz, 24bit (ONLY included in 720p/1080p releases)
English AC3 5.1 640kbps (1080p) AC3 5.1 384kbps (720p) AAC 5.1 ~384kbps (480p)
English commentary track 1, AC3 2.0 192kbps (1080p) AC3 2.0 96kbps (720p) AAC 2.0 ~96kbps (480p)
English commentary track 2, AC3 2.0 192kbps (1080p) AC3 2.0 96kbps (720p) AAC 2.0 ~96kbps (480p)
English commentary track 3, AC3 2.0 192kbps (1080p) AC3 2.0 96kbps (720p) AAC 2.0 ~96kbps (480p)
English commentary track 4, AC3 2.0 192kbps (1080p) AC3 2.0 96kbps (720p) AAC 2.0 ~96kbps (480p)
Music Only Track, AC3 2.0 192kbps (1080p) AC3 2.0 96kbps (720p) AAC 2.0 ~96kbps (480p)
English Studio Workprint Audio, AC3 2.0 192kbps (1080p) AC3 2.0 96kbps (720p) AAC 2.0 ~96kbps (480p)

Also, muxed into all releases is something that didn't come with that source BD-25, which is the English Studio WORKPRINT Audio. I synced it to this release and decided to include it because it's a different way of watching the movie and some people might appreciate the share. Don't ask where I got it, all I'll say is "Thank you" to a special friend and leave it at that :)

This scene is terrible it's going on for many seconds:

This is a little shorter but still lasts a few seconds:

These are brief / flashes:

I have to assume this is on myspleen. Since apparently there's no way to get access there for us mere mortals (hint: help a brother out!) I could only locate and download "The.Matrix.Restored.Theatrical.Colors.Edition.1999.720p.BDRip.MULTIAUDIO.x264.DTS.AC3.Shadoe" which is a re-encode.

My observation is almost every time there's a "flash" (lighting, gunfire etc) that there are artifacts.

Yes, I concur about the German DVD.

I'd rather not, because currently I am in a difficult position [ :( ] that every single cent is valuable to me, but if it doesn't look like we can reach the goal otherwise, I'll try to chip in with $5. I have a Paypal account, that is all that is required, right?

Also the credits are slightly different. The main title is simply Matrix, it's also the same for the closing credits.

There are PAL DVD copies that are like this as well.

This is most definitely not natural, definitely the colors of the film should not look washed out like this. It's his TV/camera.

AntcuFaalb said:

101_303 said:

How can I get access to MySpleen if I may ask?

First, retrieve a knife. Next, cut a hole in your belly. Finally, ...

http://originaltrilogy.com/forum/topic.cfm/Request-an-invite-to-MySpleenorg-here-read-the-first-post-for-important-information/topic/8592/

LOL, thanks! But "Your message can't be delivered because this user has reached their private message limit. A notification e-mail has been sent to alert them."

It looks like his inbox has been full since at least July so if someone else could invite me (I don't even know if it's possible?) I would certainly appreciate it! Like.. A LOT!

How can I get access to MySpleen if I may ask?

101_303 said:

If it helps, the original color timing had skies that looked either white or green but NOT blue.

April '99, interview with the DP / directors: http://www.theasc.com/magazine/apr99/matrix/index.htm

 

Because the entire film was meticulously storyboarded in color, though, Pope did have an understanding of the visual style that the directors wanted to create. "Larry and Andy wanted The Matrix to have two distinct worlds," says the cinematographer. "There is the world in the 2197 future — in which we have the pods made by the computers — and then there's the present-day Matrix world, which was designed to be a slightly unappealing reality.

"The future world is cold, dark and riddled with lightning, so we left the lighting a bit bluer and made it dark as hell. Also, the future reality is very grimy because there's no reason to clean it — only the pods need to be sterile. Because humans haven't actually manufactured anything for a hundred years, anything that had been manufactured is now old and rusty.

"We didn't necessarily want the Matrix world to resemble our present world," adds Pope. "We didn't want any cheery blue skies. In Australia, the sky is a brilliant blue virtually all the time, but we wanted bald, white skies. All of our TransLight backings [for the stage work] were altered to have white skies, and on actual exterior shots in which we see a lot of sky, we digitally enhanced the skies to make them white. Additionally, since we wanted the Matrix reality to be unappealing, we asked ourselves, 'What is the most unappealing color?' I think we all agreed on green, so for those scenes, we sometimes used green filters, and I'd add a little bit of green in the color timing."

 

Another interview with the DP: http://www.whatisthematrix.com/cmp/interview_index.html

As evidenced by the "the other day" comment it took place during shooting.

MATRIX: Can you tell me about the two colors that are used to distinguish the inside from the outside of the Matrix?

BILL: To distinguish the Matrix from 'reality', from the Nebuchadnezzar and the pods, 'reality' was given a cooler look, a bluer, more normal, less sickly look. The future in the film is cold, the sun is blotted out, there is no real warmth unless it is artificial heat, so that is whey they went for the cool side. Whereas the Matrix, created by the computers, is a decadent, decaying world, so it has a green hue. These are the two different colors - green and blue. The Matrix should make you feel sick, and in 'reality' you should feel a little more at home, but never comfortable. If you make it gold and warm you know that it is home, a safe haven. The other day I started using warm lights, I did this unconsciously for the first time in Neo's bedroom. It just felt right that it should be slightly warm. As harsh as that bunk is, it is the only home he has got.

Take that from a huge fan of the film/trilogy; I might haven't seen the original on the big screen, but from everything I know about it, I would be extremely surprised if the color palette wasn't that of the original DVD.

Sure, there is the possibility that it might haven't been transferred very well (eg looking duller than normal, or browner than normal or whatever) however don't expect the color timing to be completely different from the DVD, eg like this:

If it helps, the original color timing had skies that looked either white or green but NOT blue.

April '99, interview with the DP / directors: http://www.theasc.com/magazine/apr99/matrix/index.htm

Because the entire film was meticulously storyboarded in color, though, Pope did have an understanding of the visual style that the directors wanted to create. "Larry and Andy wanted The Matrix to have two distinct worlds," says the cinematographer. "There is the world in the 2197 future — in which we have the pods made by the computers — and then there's the present-day Matrix world, which was designed to be a slightly unappealing reality.

"The future world is cold, dark and riddled with lightning, so we left the lighting a bit bluer and made it dark as hell. Also, the future reality is very grimy because there's no reason to clean it — only the pods need to be sterile. Because humans haven't actually manufactured anything for a hundred years, anything that had been manufactured is now old and rusty.

"We didn't necessarily want the Matrix world to resemble our present world," adds Pope. "We didn't want any cheery blue skies. In Australia, the sky is a brilliant blue virtually all the time, but we wanted bald, white skies. All of our TransLight backings [for the stage work] were altered to have white skies, and on actual exterior shots in which we see a lot of sky, we digitally enhanced the skies to make them white. Additionally, since we wanted the Matrix reality to be unappealing, we asked ourselves, 'What is the most unappealing color?' I think we all agreed on green, so for those scenes, we sometimes used green filters, and I'd add a little bit of green in the color timing."

One more; HDTV (basically: DVD colors) vs 35mm vs BR:

HDTV (basically: DVD colors) vs 35mm vs BR:

Torsten Kaiser has confirmed the BR of The Dark Knight looks way different than the film material. http://www.blu-ray.com/news/?id=6885

TK: On the web, a lot of people have been saying, "oh, it's way too contrast-y" and so on and so forth. And that is correct. Others have said there is a lot of edge enhancement present. And, yes, it is, mainly because of the changes in contrast; specifically changes made to whites and in the lower grayscale. Many of the edge halos or pixel breakups, as they are being called, that appear are present due to contrast changes, not necessarily by way of what people call edge enhancement. On The Dark Knight Blu-ray transfer, the biggest error – by far the biggest error – its producers committed was the complete change of the film's original color timing. The Dark Knight was not copied with an optical printer. The original material – I held it in my hands – it was gorgeous. It was absolutely gorgeous. It was… I fell flat off my chair. (Laughs) The colors are so different compared to those that appear in the Blu-ray transfer. I've seen the Blu-ray once, and I've never looked at it again. It's very unfortunate too because it makes the Blu-ray image exactly what it is. And this is something that is hugely important. It also unfortunately happened, albeit in a different way, to North By Northwest. When I saw North by Northwest, I talked to Robert Harris about it – specifically about the opening being de-grained to a level that you begin to see line twitter. It's a side effect from a de-graining tool which causes the layers to wobble a little. It's a weird thing that should have never made it past the quality control stage. They should have known exactly what caused it and should have changed it.

Ok, the Greek and German R2 PAL DVDs lack "THE" for both transfers.

I thougt that this was the case for all PAL releases, but it seems I'm wrong.

@ChainsawAsh, it says "The Matrix"

Are 100% sure? In which country did you purchace them?

Hi, I just registered to tell you that both the old & new PAL transfers of the film start with "MATRIX".

The NTSC transfers start with "THE MATRIX"