Charles Threepio

Done. I’m intrigued to know how the current color correction test looks.

Anyone who receives one of my color correction tests for this, remember: I’m trying to make it look like a 35mm print, the way it would’ve looked on the big screen.

It’s almost done rendering, this time at 360 horizontal pixels (the resolution Pixar used for animation tests). I’ll send the smaller file via WeTransfer, like last time, as soon as it’s finished.

ETA: I’ll be sending it as an MOV file, like last time, but it’s small enough I won’t have to send it as a split archive this time. The sooner WeTransfer allows for larger transfers than 2GB at a time, the better. Also, be sure to let me know where any improvements can be made.

Perhaps the reason I haven’t yet received any feedback yet is because I had to split it in an archive to send it? In that case, I suppose I shall have to send a lower-resolution version.

At press time, I’m conducting a test render for color correction purposes at a horizontal resolution of 720 pixels, the same that Pixar used for lighting tests. Once that’s finished, hit me up with a direct message, and I’ll send you the color correction test, which will use both eyes overlapping each other.

Update on this. After some futzing around in Blender, I was finally able to get the original closing credits sequence post-converted to 3D, and I’m currently rendering the complete left eye of the feature as of writing. It could take a while to finalise, but I’m working on the actual feature right now.

I’m pretty sure the R1 release has a disclaimer about music-related censorship or something like that somewhere on the packaging, though I don’t remember all the details. Either way, it’s why I got the R2 DVDs.

Presenting a preservation of the Marvel Studios 10th Anniversary Film Festival!

I already posted an early version of Iron Man on a certain members-only Italian forum of Reddit exiles, but after numerous delays brought about by personal and technological issues, I ultimately decided to move general production here. While preparing my 3D logo restoration of Toy Story, I’ll study my early version of Iron Man so I can prepare for an improved version, taking notes on where to open up the aspect ratio and on how I could improve further in the future.

The features, and the collections in which they’ll be included, are as follows:

DAY 1

• Iron Man: The IMAX Experience
• The Incredible Hulk
• Iron Man 2
• Thor 3D

DAY 2

• Captain America: The First Avenger
• The Avengers 3D
• Iron Man 3 3D
• Thor: The Dark World 3D

DAY 3

• Captain America: The Winter Soldier 3D
• Guardians of the Galaxy: An IMAX 3D Experience
• Avengers: Age of Ultron 3D
• Ant-Man 3D

DAY 4

• Captain America: Civil War: The IMAX Experience
• Doctor Strange: An IMAX 3D Experience
• Guardians of the Galaxy Vol. 2: An IMAX 3D Experience
• Spider-Man: Homecoming

DAY 5

• Thor: Ragnarok: The IMAX Experience
• Black Panther: The IMAX Experience
• Avengers: Infinity War: The IMAX Experience
• Ant-Man and the Wasp: The IMAX Experience

ORIGINS

• Iron Man: The IMAX Experience
• Spider-Man: Homecoming
• Black Panther: The IMAX Experience
• Doctor Strange: An IMAX 3D Experience

TEAM-UPS

• Guardians of the Galaxy Vol. 2: An IMAX 3D Experience
• Captain America: Civil War: The IMAX Experience
• The Avengers 3D
• Avengers: Infinity War: The IMAX Experience

FAN CHOICE

• Iron Man: The IMAX Experience
• The Avengers 3D

Each movie, as they’re restored, will be released both individually and as part of an ISO collection. Individual released will be made available as raw files, P&S and widescreen DVD ISOs, and Blu-ray ISOs; collections will solely be available as ISOs. Both anaglyph and full-color options will be available for those that will be released in 3D, indicated by a 3D somewhere in the title.

Put simply, an open home video standard allows for creative freedom in designing releases for your restorations; why settle for few choices in resolutions when you can run the whole gamut of them at whatever framerate and/or aspect ratio you think will best fit your presentation? Indeed, I’d use MKV files for the video content of GVS modules if Godot Game Engine supported them, as MKV is already a decidedly open container format as it is; with an open container format, we might as well hope for an open home video format as well, which is what GVS is intended to be. It’s not perfect, but hey, we all gotta start somewhere.

ChainsawAsh said:

Do you just really want to be able to make, say, a 1.5K, 1.66:1 movie with a full menu and extras without having to conform to a BR or UHD-BR standard with letterboxing and upscaling/downscaling to a set resolution for some reason?

Yes.

It’s basically an executable file designed to resemble, in its style, a DVD or Blu-ray. Don’t worry, I intend to make sure these files are safe for viewing. In fact, if I didn’t believe the video files generated in Godot Game Engine were safe, I wouldn’t have even proposed it in the first place.

As for the EDL potential, that’s one of the things I’ll look into after I prove the concept. Also, I’m thinking of standardizing the format, so that people will have a better understanding of what GVS modules are supposed to be. One thing I’m researching is the resolution of film, so I can work out standard resolutions for each original medium (e.g. 35mm Academy format, 5/70 Todd-AO, 15/70 IMAX, 16mm, even certain videotape stocks) and ensure that every film will be made available in its original theoretical resolution. The sooner standards, including the code, video, audio, subtitles, and export format, are reached for open home media, the better.

Which is why I do not recommend releasing GVS modules by themselves. There should be a DVD or Blu-ray to accompany it as well. One day, someone will find a way to improve on my GVS concept to eliminate the compatibility issue altogether. Whether it will be an evolution of GVS or another format entirely, I don’t know. All I know is, for now GVS is the best possible solution I could think of for PC and Mac users.

At any rate, once I produce a proof of concept, I’ll release the source code with comments on how each function works, in the hopes that one day my dream of a truly open home media format will be fulfilled.

For your consideration, the Godot Video System, or GVS for short.

Theoretically, you can make a universal video module simply by converting your finished video files to OGV or WEBM, creating a Godot Game Engine project, and uploading your video files into the project. Then, it’d be about as simple as programming menus and such. Best of all, you’re not limited in your choice of aspect ratio or resolution! You can make GVS modules in 1.5K or 2K, even 4K if you desire, and you’re not even limited to multiples of 512 horizontal pixels, either. Plus, you can choose between aspect ratios even in the same GVS module, with black bars appearing depending on your choice of aspect ratio–for example, a 1.33:1 GVS module will be viewable in 1.33:1, and may also have options for 1.66:1, 1.75:1, and/or 1.85:1.

Of course, at present, I’m only certain this theory will work with simple videos. Later, I plan to explore how this theory might work with more complex forms of interactivity and presentation, such as seamless branching and even non-anaglyphic forms of 3D. I will post in this thread again when I have updates on my end regarding GVS presentation.

When restoring the original logos for my 3D version, I’m using the UK R2 DVD as my source, for maximum possible quality.

I just ordered a German VHS of Toy Story for just $7.77, including S&H, and I’ll be comparing it to the German version of my 3D restoration source when it comes in.

At present, I have or am about to have videocassettes of Toy Story in the following languages:

• English
• French (Canadian)
• German
• Japanese (subtitled)
• Spanish (Latino)

Each tape will be used to help me prepare the matting to 1.85:1, the international titles, the subtitle tracks, and/or the special features. I’ve yet to acquire tapes in the following languages:

• French (European)
• Italian
• Spanish (Castellano)

And I might not be able to collect either of those three for about a month or two, as just preparing for the international 3D versions has drained my meager finances a quite bit.

OK, the following subtitle tracks are confirmed:

• English SDH
• English with titles
• English (titles only)
• French
• French (titles only)
• German
• German (titles only)
• Italian
• Italian (titles only)
• Japanese (based on the subtitles on the VHS release)
• Spanish (Castellano)
• Spanish (Castellano) (titles only)
• Spanish (Latino)
• Spanish (Latino) (titles only)

Some of the subtitles for each version may hew closer to dubtitles than to the official subtitle tracks, depending on what I’m able to decipher from each dub track. For example, “To infinity and beyond!” will be translated in the subtitles as “¡Al infinito y más allá!” in the Spanish (Latino) subtitle track and as “¡Hasta el infinito y más allá!” in the Spanish (Castellano) subtitle track. Also, I’m considering the use of other foreign English-language sources, including from Italy (yes, Disney released some of their films there on VHS in the original English language, believe it or not), as sources for foreign language subtitles, but only if those sources are what I think they are.

If it’s the Lumiere/Republic release, I’m pretty certain it was NTSC.

That, and the way home media works in the UK. If they were to relicense that track, they couldn’t simply readd it onto the DVD—they’d first have to resubmit it to the BBFC for classification, and we all know how much of a hassle that can be, especially when home media classification was first implemented by the moral watchdogs in 1985.

Open All Hours Series 2 is one. Most DVD prints remove a scene from one episode where Granville parodies Singin’ in the Rain. I happen to have an early R2 DVD release which retains the scene, and my PBS station’s print also retains it.

BTW for the 3D version, should I use the 3D closing credits or the 2D closing credits? And if I should use the latter, should I apply 3D enhancements or leave them as they are?

I think that would be splendid!

Those who requested the preliminary stereo zooming-out Disney logo should have the WeTransfer link in their inboxes soon. It’s essentially the right eye view thereof (we all know what the left eye view looks like from those old prints).

Sure.

Oh, if you have any 35mm Odeon snipes, could you send me scans?

Interesting… how were the Dolby and THX bumpers placed, if at all?