Sign In

Chewielewis

User Group
Members
Join date
3-Jan-2017
Last activity
3-Jul-2020
Posts
236

Post History

Post
#1354650
Topic
The Matrix Laserdisc Preservation "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 "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.

Post
#1350617
Topic
The Simpsons: Embiggened Edition
Time

Ive had a glance at this and I don’t think its going to work for me. It has all the probems of the original remaster bar the aspect ratio. The colors are too bright and too oversaturated. There are still Interlacing artefacts and line smearing artefacts. The video filtering is too overdone. And far too over processed for my taste. Particularly when it comes to fuzzy details become strongly defined details. Stuff that looks bad because of the low resolution of SD now looks bad because someone drew it bad.

My simpsons remaster will still happen, at some point, when the workflow becomes defined enough to do it all at once. But don’t expect it any time in the near future.

For now enjoy disney plus.

Post
#1349651
Topic
Changes to the Disney+ 2019 SE of the Original Trilogy
Time

It might be a good idea to make a thread about just errors in the 4K releases. Here’s something I found today.

In almost all the shots like this during the Tie chase scene there are misaligned power windows making the space outside darker. Here is the worst

2011

2019

And its animated https://streamable.com/9g6zkl

Notice the shadows in on the cockpit windows, almost every shot in this setup has misaligned power windows, making space darker.

Here is another one

2011
Imgur
2019
Imgur

Post
#1344048
Topic
Star Wars: The Skywalker Saga 4k UHD -- 27 DISC Boxed Set -- 3/31/2020
Time

Keep in mind these are all shot with anamorphic lenses, so things can get squished or stretched based on their position in the frame, i believe.

Also interesting to note the 2004 ESB release was complete well before the ANH and ROTJ was finished and was colored by another person entirely seperate. Might have something to do with the weirdness.

Post
#1343426
Topic
44rh1n's "The Fellowship of the Ring" Extended Edition Color Restoration
Time

44rh1n said:
I’ve been wondering about this myself. Since LOTR is so VFX heavy, redoing visual effects in 4K is probably out of the realm of possibility. Honestly, I just hope it’s sourced from the original 2K DI, and upscaled. No monkey business, no green tint, no DNR, no artificial sharpening, no scanning of a print — just the original file that got rendered out as the master, before it got printed back onto film. That would be the best source IMO.

It’s funny to me that this conversation only ever comes up when discussing Lord of the Rings and Eps II and III. But never for any of the multitude of 2K rendered VFX heavy films that have been released on UHD bluray.

But yeah its practically impossible for this to happen. Consider the hardware and software the vfx pipeline was built on is long decommissioned. An enormous amount of effort for a very minimal upgrade in fidelity.

Post
#1340775
Topic
Harmy's STAR WARS Despecialized Edition HD - V2.7 MKV IS OUT NOW
Time

Power windows will definitely be in the 2020 BRs too. And probably some in the 11 BRs.

I’m my opinion some of those corrections are a bit revisionist and should be replaced on a shot by shot basis.

But not all. Despecialized seems to be the project where such modern grading techniques are acceptable. And In a world where we have 4K77. Some work done to invisibly tidy up the presentation of Star Wars is… fine.

As had as the sources go. I do believe that a 10bit SDR workflow is the way to go.

  1. The current HDR BR do not use HDR to its fullest. Keeping the picture largely in the lower range of the brightness spectrum. There isn’t a tone of HDRness to use there.

  2. Considering how difficult it is even for professionals to do quality HDR grading I would strongly advise against amateur HDR grading, even as an optional release.

If I were in this position I would cap both releases and look at how we can conform one to the other. Either by using Dr Dre’s tool shot by shot (It can be done), or a blanket adjustment if it works. There is detail in the 4K surprisingly, but the image on the 1080p is more than enough to make a future presentation.

I’d like to think that the future of Despecialized becomes more of a community driven project than a largely solo effort. As a community we should look at what Despecialized look like. And how we would achieve that goal.

Despecialized has become the “brandname” of the theatrical editions of Star Wars. It’s what people talk about outside of the Star Wars forum (that and 4K77). It’s important that all the fans out there (who aren’t as savvy as us) that perfect, comprehensive, community approved versions are out there and easily identifiable. And it should happen soon.

Post
#1336806
Topic
Star Wars Prequels 35mm 4K Filmized Editions by Emanswfan
Time

ZigZig said:

ChainsawAsh said:

A 35mm scan is in the works at the moment. I believe ZigZig would be the person to get in touch with about that.

The scanning process is currently locked down in a Parisian lab due to Covid-19…
But I’d be happy to share with emanswfan the rough scan of reel #4 (which was done 2 times with 2 different lenses).

Emanswfan, if you’re interested, please feel free to PM me.

I’d love a copy too actually.

Post
#1334764
Topic
Star Wars: The Skywalker Saga 4k UHD -- 27 DISC Boxed Set -- 3/31/2020
Time

ANH caps are up. https://caps-a-holic.com/c_list.php?c=5424

This comparison just shows how good the new ANH transfer is.

https://caps-a-holic.com/c.php?a=3&x=579&y=295&d1=13932&d2=13929&s1=141341&s2=141307&l=0&i=8&go=1

Even this shot here https://caps-a-holic.com/c.php?a=3&x=217&y=215&d1=13932&d2=13929&s1=141343&s2=141301&l=0&i=6&go=1 (2019 recomp?)

A 97 render. https://caps-a-holic.com/c.php?a=3&x=538&y=316&d1=13932&d2=13929&s1=141335&s2=141312&l=0&i=14&go=1 Makes me wonder if these are scans of the 97 filmouts or captures of the filmout tapes like TPM 2011.

Would really like to see a comparison with this shot https://vimeo.com/89784677

Post
#1334656
Topic
Star Wars: The Skywalker Saga 4k UHD -- 27 DISC Boxed Set -- 3/31/2020
Time

RashadShehadeh said:

I’m aware that the negative for TPM is essentially a print of the 2K DI. But of all companies, can’t Disney have access to the original camera negatives. I don’t buy the fact that Lucasfilm hasn’t stored them, somewhere.

Its been said several times that the 2K filmouts ARE the original camera negatives. Yeah the can rescan the negatives but they cant re render the CGI which is 99% of the movie.

Post
#1332820
Topic
The Phantom Menace - Theatrical version scanned in 4K
Time

Also a new digital source for the Blood test scene with recomposited background elements (IIRC).

And as always this is the best info we have on the TPM workflow from Knoll himself
https://www.fxguide.com/fxfeatured/art-of-stereo-conversion-2d-to-3d-2012/

There needed to be two new color timing parts to the show and Knoll used this opportunity to upgrade all the material, since when Episode I was originally finished, it was done on a per shot basis – “done sort of old style, final a shot, film out a shot, look at a print of that negative and that’s what we would final”. It went through a conventional negative cut. An optical timed IP was generated from that and then then master printing negatives were made from that timed IP. So everything audiences saw in the theater was two generations down from the original. “When the original DVD was released,” Knoll says, “it came from scanning in the timed IP because it was the simplest thing to do. But when it came time to do [the conversion], we were going to take the movie and cut it up into 2,000 separate pieces, work on them and re-assemble it, we had an opportunity to go back to the original material. We could go back to the original film-out tapes that are a couple of generations better than what had been seen. So we figured let’s do that. We made a concerted effort to collect all the bits, re-create all the dissolves and pre-wipes. So that was all pre-graded material, so we had to do all new color timing, just to have the new Blu-ray master. Then there is a device-dependent color timing that’s done to compensate for the light loss that comes from stereo.”