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Chewielewis

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Trusted Members
Join date
3-Jan-2017
Last activity
15-Dec-2018
Posts
243

Post History

Post
#1257292
Topic
KTP's Gold Standard Collection
Time

Charles Threepio said:
Apparently, Fanres.com is too damn bigoted against people like me with brains so big they don’t know what to do with them, so I’ve given up on them.

Oh no, please don’t bring this nonsense here. Your threads were removed for good reason. 2 Years of spamming vaporware projects with nothing to show for it.

These KTP collections are so absurdly broad and ambitions but with zero details of what you plan to do or how to do it. We don’t need these here.

Post
#1255161
Topic
3D Movies Preservation
Time

A 3D film im dying to see again is Encounter in the Third Dimension An imax film from 1999. I recall watching this as preteen back in the day on a full size imax screen and it blowing me away. Since then I’ve been able to identify it on one of two 3D DVD formats, the superior of which is simply impossible to find. I also believe It was broadcast in HD 3DTV back in the days where that was a thing. I’d simply love to get a HD SBS version of this in HD.

Post
#1248655
Topic
Phantom Menace '99 - HD Theatrical Version by Chewielewis
Time

ZigZig said:

ChainsawAsh said:

Ah, fair enough. Is the AC3 from the LD the same 1999 theatrical mix, or is it a home video “near-field” mix?

I think that the AC3 from the LD is exactly the theatrical Dolby mix and not a nearfield mix. Chewie, do you have other information about it?

All I can say is when I had both of them lined up in Premiere I could see differences in Dynamic range by comparing waveforms. It looked to me like the LD audio could have been tweaked slightly for Home viewing which would make sense to me.

Or there could have been differences in the Dolby mix and the AC3 mix on the negative itself. I’m not sure.

Post
#1248317
Topic
Phantom Menace '99 - HD Theatrical Version by Chewielewis
Time

Hi all

I’ve just finished what I hope to be the final render of this project. New grading, improved missing scenes, better encoding.

Im still not 100% on which audio should be default, the Cinema DTS or the nearfield mix from the Laserdisc, both sound real good. I have Cinema First but keen to hear your input.

Subtitles still need to be done so if I have time I’ll work on that. Not something I’m too familiar with so will probably just edit an SRT file from somewhere. I do know that the subs are rather inaccurate on the DVD and improved on the Bluray.

If you would like to QC the preview version please PM me and I’ll send you a Resillio key.

Post
#1247455
Topic
The Phantom Menace on 35mm
Time

trillary dump said:
I had the same thoughts as Ash. However according to Bobson Dugnutt’s preservation page the font used for the theatrical subs are “ITC Franklin Gothic Demi Bold, 69 point with -30 tracking”

That would be great if that font variation actually existed anywhere. What’s on the print as far as we can tell is a different digitization of the font as many of the characters are slightly different from what’s available online for purchase or otherwise.

This shot here looked terrible on all releases with its blown out red shadows, made me wonder it was something to do with the digital scanning creating artefacts.
Imgur

Nope, its the same on the print. The compositing and grading on this film is suprisingly awful.

Imgur

Post
#1246938
Topic
STAR WARS but every shot comes from a random source
Time

none said:
Would you happen to have an automated process to cut up the original files into each shot as an individual file without any recompression, modification or data loss?

For other films, RotJ, was looking at an After Effects plugin which ‘spots’ film edits. So the program would hopefully spot the easy 90% of the shots which don’t look the same at the edits, then tweak that to find tune. But didn’t get into that at all before my SW life derailed. Otherwise back to Avisync and just scroll and write down the values, try to do a minute or two at a time and over a few months it’s all done.

I was thinking about this myself actually, And Ive just remembered my simpsons restoration scripts have a scene change detector which worked okay, a bit of tweaking could get it working better. Just having it export frames to a txt file and dump into avisynth. All my shot cheking was done in premiere pro, setting the TC display to frame counts.

Is your random selection done in the spreadsheet or a script of the video editor program?

It’s a spreadsheet script, which generates a random number, you pick the sync (GOUT/SE/BR ect) and then it will select between GOUT only sources or all sources based on criteria from the dataset. then the ins and outs are moved into an AVisynth script format.

Remember to write yourself very explicit notes on how you did each step. Ran into many steps I couldn’t reproduce when trying to complete the ESB version of AARRSSTW. Have thus far given up with the frustration, my apathy towards computing is making me a pissy piece of shit. Happy happy joy joy. Good Luck!

Yes definitly. My simpsons project is stalled because i forgot how my script worked. Just a big fat mess that needs rewriting.

Post
#1243128
Topic
Phantom Menace '99 - HD Theatrical Version by Chewielewis
Time

Imgur

A few months ago I had a conversation with ZigZig about this project and what I could be doing better. As it turns out I was totally off base with my assumptions on color. I had assumed from other posts on the topic that the only change in color from theatrical to DVD was a general pink wash that was easily removed with the THX reference.

As it turns out this could not be further from the truth. Throughout the whole film many scenes have been entirely regraded to look very different. Often to balance the poor color grading of the original release but also to brighten or darken a scene to enhance the mood, or to boost skintones where they had been washed out. Many scenes needed this treatment, the pod hanger, jedi council, senate chamber, but often the colors would become unnatural or video like. It was a rush job to fix a rush job, interestingly the bluray reverses a lot of these changes but introduces its own shitty grading decisions.

Restoring the colors shot by shot was an exhaustive process that took around a month an a half of full time work (as a freelancer I have plenty these days), I created over 1700 individual lut files using Dr Dres color matching tool. The HDTV was matched exclusively to the ORF1 SDTV release. As of now I’d say the colors are 99% accurate to the Theatrical Telecine which is a standard I am pretty happy with. It’s is certainly more pleasing to the eye.

Subtitles have also been adjusted. RU.08 suggested that the shadow on the subtitles goes directly down like in AOTC but on closer inspection of the Z bootleg they appear to go down and to the right.

I expect to have a preview out in the next 24 hours and if everything goes well it will be ready for public release soon. I’m eager to get this done and dusted as I have many more projects to work on.

Post
#1242882
Topic
Star Wars - What is wrong and what is right... Goodbye Magenta
Time

It’s a little inaccurate to say hue shift though.

When it comes to digital video or films grading . We don’t work in Hue we work in mostly in RGB values, contrast and saturation. It’s very rare to even touch the hue knob as it pushes everything to the right or left. Not helpful at all. (Yes there are ways to specifically alter and shift specific hues but neither the film nor the bluray likely used these techniques)

When it comes to badly regarded films it’s a case of RGB curves and saturation that makes them look so much bluer or greener or redder or magenta. Film prints don’t degrade by shifting hues, but by the RGB particles degrading at different rates.

The Death Star shot you posted. Nothing to do with hue shifts and everything to do with RGB and saturation.

Post
#1242601
Topic
STAR WARS but every shot comes from a random source
Time

Do you ever find yourself wanting to watch STAR WARS but can’t decide on what version to watch? Why not watch all of them! Here is the STAR WARS you know and love but every other shot comes from a randomized source! Laserdisc, SDTV, Bluray, 35mm, 8mm, this has it all!

This is a fun little project of mine that is part of a larger project that I’ll be showing off soon. 4 Versions of Star Wars, broken down shot by shot in a spreadsheet that contains the in and out for each shot and how the different cuts relate to each other. From that database, a script is created that mixes and matches various different sources and different cuts of the film into one nauseating but watchable cut. A single viewing of Star Wars that spans 40 years of authorised and unauthorised home video releases.

The project is created through formulas which create an avisyth script which then creates this. Right now I have a sample but the full length film will be available very soon. A note that the script interacts with files that have simply been downloaded and demuxed from mp4 to mkv, no other alterations have been made, the scrpt mixes SE and GOUT sources without breaking a sweat.

SAMPLES: Battle of Yavin https://streamable.com/soh09
Luke Meets Obi-wan https://streamable.com/4ucal

What is the purpose of this?
First it is to test out this new database, having the source change at every cut allows me to check for misplaced frame counts, one of which is in the sample linked above. Any help identifying misaligned cuts is most appreciated.
Second, as a proof of concept to what I believe will be an important tool for Star Wars restorations, having all these sources catalogued precisely will allow for custom star wars versions to be created with simple expressions. Stay tuned for a separate thread on that.
Third, it’s very interesting to see STAR WARS in this way, with the color changing constantly, image artefacts switching from dust and grain to disc rot, video noise, DVNR smearing, over sharpening, aliasing. It’s a fascinating look at how star wars has looked over 40 years and how it could look when taking into account all of these differences. Every time I watch I find myself enjoying the look of various different colors. I don’t think there is a single film out there that has had so many different looks.

Sources used:
4K77 non-DNR v1.0
4K77 DNR v1.0
4K77 Grindhouse
Silver Screen Editon v1.6
Derann Super 8mm (Althor1138)
Despecialized v2.7
1995 THX Faces LD (Spanish) (Althor1138)
Japanese Special Collections edition LD (Althor1138)
1997 SE LD (Althor1138)
Special Edition Team Blu BD
GOUT (Return of the GOUT Upscale)
HDTV (Schorman)
Retail Bluray

Database sources are the Shotlist here started by none and none’s AARRSSTW which had the frame counts in a spreadsheet which came from negative1.

Full version on the Spleen.

Post
#1241632
Topic
Science Fiction or Space Fantasy - what is Star Wars
Time

I think the closest Star Wars gets to Sci-Fi is the droids vs clones thing, but the ethics of using a droid or a clone army are in no way a theme of the story which would make it true sci-fi.

It’s entirely plausible that you could take A new hope and transplant it to middle earth without changing any important story details. Swap X-wings with archers on horseback etc.

Post
#1241056
Topic
4k77 - shot by shot color grading
Time

Seriously, no one should go near HDR without the proper monitoring equipment. And even then, I wouldn’t advise anyone to do it without the proper training and experience, especially working with such degraded materials. HDR is dependant on extreme precision, you can’t just try it.

Sorry that sounds a litte extreme, I just don’t want to see time wasted on a crummy HDR grade.