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Chewielewis

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Members
Join date
3-Jan-2017
Last activity
21-Apr-2021
Posts
258

Post History

Post
#1399111
Topic
Peter Pan, 1960 TV Movie with Mary Martin, Restored - 1080p Upscale (Released)
Time

Dek Rollins said:

Chewielewis said:

James76 said:

Chewielewis said:

I see projects like this and its a real shame they always deinterlace down to 30fps rather than 60fps.

Huh. I didn’t think of converting it to 60fps. I kept it at 30fps. I’ll make a 60fps version with Adobe Premiere Pro CC.

JEDIT: 60fps version created! Now I need to upload it on MEGA.NZ.

Thats no good if you are working from an already deinterlaced source. The original Youtube poster should have done that with the original tape otherwise that second field is lost permanenetly. Doing a false 60fps upscale is possible worse.

I’m not super knowledgeable about interlacing, but I thought deinterlacing involved combining both fields together, as they would originally alternate. How does that ‘lose’ the second field?

Not exactly, Deinterlacing takes one field and uses a process to fill in the other field to make a whole frame. If you do that with every even field you get 30fps, if you do it with both the even and the odd field you get 60fps.

Post
#1398852
Topic
Peter Pan, 1960 TV Movie with Mary Martin, Restored - 1080p Upscale (Released)
Time

James76 said:

Chewielewis said:

I see projects like this and its a real shame they always deinterlace down to 30fps rather than 60fps.

Huh. I didn’t think of converting it to 60fps. I kept it at 30fps. I’ll make a 60fps version with Adobe Premiere Pro CC.

JEDIT: 60fps version created! Now I need to upload it on MEGA.NZ.

Thats no good if you are working from an already deinterlaced source. The original Youtube poster should have done that with the original tape otherwise that second field is lost permanenetly. Doing a false 60fps upscale is possible worse.

Post
#1397139
Topic
44rh1n's "The Fellowship of the Ring" Extended Edition Color Restoration (Released)
Time

Ronster said:

Centurion said:

Ronster said:

Wait for Blu ray next year…

I really doubt the colours on the blu will be different from the UHD disc. They seem to be stylistic choices by Peter Jackson, and there isn’t any huge backlash because, all in all, they are an improvement over the old blu’s.

Yeah but then you wont have to convert the HDR to SDR assuming that is another hurdle may aswell wait for the SDR Blu… Atleast that is what I meant and it will have more detail still in the majority of parts but perhaps not all especially the scrubbed scenes which is the point right?

No The new BRs will be downscales and conversions of the new 4K HDR master.

Post
#1391943
Topic
44rh1n's "The Fellowship of the Ring" Extended Edition Color Restoration (Released)
Time

Two towers is full of that early 2000s push everything to blue or green style of digital color grading, and im not surprised that 20 years later they’ve decided not to recreate it. These regraded shots are arguably much better.

A shot like this is interesting

https://caps-a-holic.com/c.php?go=1&a=0&d1=5242&d2=15008&s1=48974&s2=156553&i=13&l=0

A lot of blue missing there

Other shots seem to keep the tone of the shot intact whist removing the blanket tint.

https://caps-a-holic.com/c.php?a=1&x=499&y=250&d1=15008&d2=5242&s1=156545&s2=48966&l=0&i=5&go=1

ROTK has a lot less big color washes. I havent had the chance to sit down and watch, im interested to see what their day to night grade looks in that scene where merry find pippin under the oiliphant. Looked terrible on Bluray. Also the horrendous shot of the gang meeting the pirate ships.

Post
#1373298
Topic
Star Trek Deep Space Nine - NTSC DVD Restoration & 1080p HD Enhancement (Emissary Released)
Time

Have you considered a double TFM process.

Split the video into two TFM streams, one for upper fields, one for lower fields and then combine them to make a 59.94P stream. Any remaining combed frames will be taken care of by the TFM process.

It’s what i use in my simpsons project to deal with cadence breaks and 60i effects.

Post
#1372944
Topic
THX-1138 (1st Director’s Cut) - 35mm Grindhouse Edition (Released)
Time

Imgur

Well I saw this yesterday. An interesting experience. I had never seen the original cut.

It was the roughest print I had ever seen, red as hell, so scratched and dirty it makes 4K77 grindhouse look pristine.

Came with the Buck Rogers trailer at the top and a rather modern looking warner logo rather than a WB shield.

Got a good laugh when the officer fell of his bike and the number of active officers changed by one.

Very confusing movie, the directors cut makes a lot more sense, although I hate the CGI changes in it.

SilverWook said:

Off the top of my head, look for the extra few seconds of SEN interacting with the kids towards the end of the movie.

Scene ended at the point where he references the huge bottle of economics he had to take. Don’t think there were any extra seconds, will have to review the LD.

Post
#1363732
Topic
Harmy's STAR WARS Despecialized Edition HD - V2.7 - MKV (Released)
Time

Genemon123 said:

I guess we could compromise on this by releasing a GOUT synced version and a theatrically synced version. There wouldn’t be many synced subtitles or audio for the theatrically synced version but at least it would be available for those who want it

No, the endless fragmentation of public releases really does a disservice to the community.

Personally I’m in favour of GOUT sync. Frames on reel changes are extended to allow for changeover, they don’t NEED to all be accounted for. But if we choose to make a new sync, commit, don’t look back.

Post
#1362806
Topic
Harmy's STAR WARS Despecialized Edition HD - V2.7 - MKV (Released)
Time

44rh1n said:

DrDre said:

Here’s the current status of the color grading:

It’s looking really great so far!! My only note would be the pinkish blocky artifacting that seems to be present quite a bit. Maybe it’s just a limitation with the source? It doesn’t appear to be too major, but for pixel-peepers like myself it’s still noticeable.

Most likely the jpg compression used for these uploads

Post
#1361307
Topic
Harmy's STAR WARS Despecialized Edition HD - V2.7 - MKV (Released)
Time

DrDre said:

act on instinct said:

Seeing teal artifacts in the whites.

Those are not teal artifacts. The walls of Tantive IV are a bluish green with creme colored panels. There is some artifacting in some of the shots, which will be fixed, but the walls are not supposed to be white.

Is there any evidence that the walls are supposed to appear as teal on screen. I would imagine the walls were painted teal so they would appear cool white under the tungsten set lighting.

Post
#1354650
Topic
The Matrix - Laserdisc Preservation opportunity - "Help Needed"
Time

trillary dump said:

Chewielewis said:

This post from the lddb is very relevant here and in general

That is interesting about old home video releases having their colors altered to make up for inaccurate TV sets. Would you still trust the 35mm scan that has been done over the LD in this case? I do know that a lot of people were saying that it is way to oversaturated and blown out (maybe it was unique to that specific print)

I wouldn’t trust the LD at all. It’s clear from the 35mm that the theatrical presentation bears no resemblance to the early home releases.

I’m trusting Bill Pope that the UHD is how it was supposed to look.

I think its clear that the 35mm theatrical presentation had so much extra processing in it that made it basically unusable for the home release.

Post
#1354462
Topic
The Matrix - Laserdisc Preservation opportunity - "Help Needed"
Time

This post from the lddb is very relevant here and in general

It’s so funny how all people are complaining about “history revision” yet have no experience whatsoever in this business. I’m a film restorer and colorist. Here’s a little thing for you all to consider before you start yelling how inaccurate modern releases are:

During the 80s and 90s, most TV manufacturers (especially Sony with their Trinitron sets) had such terrible accuracy out of the box with major blue push. We do see this kind of torch mode today of course, but back then there was really not as much interest for consumers to calibrate their displays and as the movie studios have always been interested in making money, most films that appeared on home video and Laserdisc were to a certain point color timed to compensate for these inaccurate sets (hence red push was very common on masters in this era of time). This meant that pretty much every DVD you’ll find by MGM released prior to 2005 or such will have an overly reddish tone and all share the exact same characteristic. Only problem however is that most of these films had much more sophisticated color timings than what we saw on VHS and DVD yet people still take this for granted.

And this becomes extremely clear when you start to have a look at the physical films in an archive. Theatrical prints, even though they never tend to have much sharpness, are usually what we go after. And they rarely have much in common with an outdated VHS, Laserdisc or DVD. Of course we can still have a look at a home video release just for the sake of it, but we know that it has been going through way too many compromises to be used as a reference.

For instance, I had the chance to check out Thief on a Swedish 35mm print from the early 80s. I kept the new grade that’s used on the Criterion and Arrow releases (Director’s Cut only), as people have complained for years for it being inaccurate. Look at this comparison: http://www.caps-a-holic.com/c.php?go=1&a=0&d1=3606&d2=5422&s1=33376&s2=50607&i=6&l=0
And guess what? This scene was so cold and blue, even when only going through a photochemical process, that’s it’s not even debateable. The MGM was so off you wouldn’t believe it, while the restoration by Criterion keeps it all intact.

Many people complained about the Scanners Blu-Ray by Criterion yet relatively few (in contrast) seem to even have seen it. I’ve got the BD myself and have honestly no doubt that it’s an accurate presentation of the films intended look. The entire process was also supervised by David Cronenberg himself and from my experience, both directors and cinematagraphers tend to remember the color timings and gradings that were used for their films.

As a colorist at one the oldest film archives in the world, I have no intention in changing how the films I grade are supposed to look. I can do plenty of research before I settle down with my work, but sometimes you will have to take a chance if it’s unclear just how the film was really supposed to look. Then I will have to look at other factors that play in and try to make a decision from there, but I don’t go to Blu-Ray.com or this forum to ask for suggestions. I have a very difficult time believing that someone who hangs around there or at this place, who I don’t know through my job, would be of any help when I’m facing a problem like that.