CatBus

Ohhhhh, thanks.

Whoah, that works, just AssumeFPS without TDecimate.  Slightly confused WHY this works to produce 23.976fps output, but willing to accept it on faith ;)

EDIT: Er, and thanks!

Okay, it must be my TDecimate call screwing it up then, because the result jerks every few frames and doesn't sync... any suggestions for getting the frames at 24P?

So... what AviSynth script would you use to convert the frames from the PAL DVDs to 23.976 FPS, so that it's in progressive film-speed frames and would (more-or-less) sync to the NTSC audio?

I'm starting to get the hang of DGDecode/MPEG2Source and TFM/TDecimate for NTSC discs, but getting it working for PAL eludes me.

PM sent.

FWIW, after witnessing what a royal fuckup this HD remaster is turning out to be, I'm painstakingly going through my 4:3 DVDs to archive & upconvert them, since it appears likely that, in spite of their shortcomings, they might very well be the end-all-beat-all version of the series, except for OMWF which is windowboxed to shreds, so I'm using the 16:9 discs for that one.

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Darth Id said:

"Voiceover" as opposed to dubbed is a bona fide horror of home video phenomena that I've been perfectly content not knowing about until just now, thank you very much!  Are foreigners so incredibly averse to reading that they'd rather suffer that kind of cacophonous aural abuse?

And by "reading," I guess I mean either subtitles or just reading a book instead of watching a movie because this whole voiceover thing sounds entirely prohibitive!

Actually I like voiceovers, even though I admit it's a little weird.  Here's why: You don't have to worry about new voice actors failing to capture the tone/delivery/character of the original performance.  The original performance is all still there for you to hear, and you've just got a translator doing realtime translation as well, like you'd hear on the radio or at a speech at the UN, so it's not as obtrusive as you'd think, once you get used to it.  The focus of the voiceover is entirely on providing a good translation, not on lip-matching or having the appropriately whiny tone when Luke wants to go to Tosche Station, and all the other things that can make a dub go terribly wrong.

Anyway, yeah, I (obviously) like subtitles better too, but I think voiceover dubs can actually be better than "real" dubs in many ways, the very least of which is that they mangle the original film less than a real dub would.

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Yeah, check the audio on Harmy's Despecialized Editions.  It's also a Polish voiceover dub, it may very well be exactly the same as yours.

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In general, it looks nice, but IMO I'm not sure he got what he was aiming for with the scanlines.  I'd put more of a glow around each scanline, to make the effect less obvious.  As it stands now, it looks a little too much like a digital display trying to be an analogue display (which, I guess, it is, but still...)

That's really cool.  I can imagine a couple scenarios that might throw it off (syncing my subs designed for the stereo mixes with Puggo's mono mixes), but under most circumstances I imagine that's not really an issue.

Might be worth a shot the next time I need to do a resync.  Ultimately I'd use to just produce conversion data for my scripts rather than using Sushi directly, because my scripts convert graphical subs as well as text subs, Sushi seems text-only.

IMO, "pick a reasonably good standard and run with it" is more important than "include every frame".  Part of the reason is laziness, sure, but also trying to avoid the confusion of "which frame reference are we on this week?"  In addition, I don't know for sure, but I suspect we already have more frames in NTSC GOUT than people actually saw theatrically, at the reel changes.

Not that these frames can't be catalogued for other purposes, but the crap we just went through with PAL vs NTSC GOUT, let's not do that again, like, ever.

Yeah, I discovered this while syncing Puggo's projects, but never reported back, like a bad, bad thread starter.

Since I'm dealing with subtitles, I really can afford to be off by quite a few frames.  Jumping from shot to shot and verifying sync in each shot is perfectly adequate for my purposes.

You're starting off with PAL GOUT frames, right?  If so, it looks like the applicable Avisynth script snippets are:

SW:

DeleteFrame(144053)

ESB:

DeleteFrame(150204,150205)

ROTJ:

DuplicateFrame(141781)
DeleteFrame(68664,68665)

That gets you back to NTSC GOUT sync.  Please chime in, Chewtobacca if I got something terribly wrong.  AviSynth is new to me.

At first I though they were just poor scans, but now that I look at them again, that's a much better explanation for how they look.

I'm not moving my offtopic conversations over to this thread until my check from Harmy clears.

There's some cutter frames here: http://originaltrilogy.com/forum/topic.cfm/Film-cells-from-a-Technicolor-print-on-ebay/topic/17379/

The scans seem to be decent-quality--not the best scans out there, but maybe the only publically-viewable ones of some of these shots.

Your typical home video boosting, in combination with the rapid-fading filmstock that was used, pretty much gets you a white blade.  An intentional change would not have been necessary, even if he'd wanted to make it.

PSA--if anyone's trying to make a super-internationalized Blu-ray, Project Threepio is big enough to make a difference toward your non-video maximum bitrate (8Mbps).  If your audio options push you over 7Mbps (if you have lots of lossless tracks), the subtitles will definitely push you the rest of the way over the limit.  tsMuxer doesn't warn for this, your player will just behave badly.

So you might need to choose between multiple lossless audio options, or global subtitle support.  My bad disc had five lossless English tracks and all languages (dubs and subs), and I'll probably cut it back to one lossless track just to be safe.

Yeah, one reason to buy films reels, even if you have no immediate use for them, is the save them from "cutters".

But yeah, projection prints technically belong to the studios, who loan them out to theatres and expect to get them back.  Private ownership is not really kosher, but it's saved the studios' bacon quite a number of times, as the private collectors often take better care of "their" property than the studios do (e.g. when the studio has effectively destroyed its copies, and then wants to make a home video transfer).  Star Wars is just another case-in-point.

Mavimao said:

Hopefully Disney will knock on your door and make an offer. 

...otherwise, hopefully they don't come knocking at all ;-)

lucasdroid said:

How is this going to be better than the version Reliance is doing?

 It's not the Special Edition, for one.

He's waiting for the good bit.