Chewielewis

ZigZig said:
PALPATINE’S OFFICE
(Here, the difference between SD upscaled and true HD is more obvious)
FrameCompare : http://www.framecompare.com/image-compare/screenshotcomparison/KDY7NNNX

You definitely have a source that I don’t have, there’s a little more picture on either side and top and bottom that I don’t have on any of mine. One or two pixels worth. I’ve scoured these forums but I cant find any mention of a source other than the LD, the TB, ad the ORF1.

Although I’m not sure I would call this “true hd” Since you can scale it down to SD and back up to HD and not lose any detail.

Sure but there are three different ways to do it, pan and scan, open matte and oar. If a film is anamorphic it’s always pan and scan or oar. Super 35mm films are open matte or oar. Digital can be either open matte or P&S despite digital cameras always shooting open matte. Some distributors might find open matte and oar acceptable for viewing but pan and scan not.

Intestesting, but you need more data. Was the film shot anamorphic, super35, digital, etc. Is it shown open matte or pan and scan?

From what I understand, networks will play whatever they get, it’s distributirs who make decisions on what format they send. If they play both Letterboxed and pan and scan movies then they likely don’t have a policy on what they play.

I guess I should be clear about the scope of this project. Really I’m just trying to recreate what they would have released on DVD had they not done the extended version. Somewhere out there on a shelf sits 3 D-5 HD video cassettes, holding a rough as guts telecine of the interpositive, used to create the laserdisc and the VHS. Thats what im trying to achieve, with the theatrical subs and cinema DTS as a fun extra.

I’ve actually gone and redid, from scratch, all 3 upscaled/patched shots. I think they look much better than they did before. I can’t say they are as good as yours, ZigZig, but they are good enough for this project. I used all 4 sources available to me (TB, ORF1, and two LD rips) then blended them in after effects. I haven’t quite got my head around the PaNup thing yet but this seems to do ok.

As for color. Yeah they are a bit all over the place, blow out highlights in pink and yellow and blue. But I have no interest in regrading the film without a true color reference, like the 35mm. Currently this release is regraded to the theatrical video master using a known reference to do so (The THX DVD). When the 35mm comes out I might consider doing a full color correction but for now this will do. That being said, seeing how long it took for Despecialized to get its color right and then watching 4K77 fuss over it for two whole years and people still fighting over it, I think I’ll pass for now.

As for missing frames, I have done a lot of checks and everything seems to be accounted for. This is direct from a broadcast tape, not a capture off air so it’s pretty accurate. Only one frame issue which is present on the DVD too, as mentioned above, it’s been corrected.

Not worrying about cropping, The bridge shot is as close as I can get to the original crop, its fine. Senate shot I cant get anywhere near it since it’s shifted considerably. Everything else is fine.

Audio is taken care of, thanks Schorman.

Release Candidate 6 is rendering now.

My bad, was looking at the names in the thread, not my inbox

I’ve just sent out links to the preview to all who offered their time, thanks people.

ZigZig said:

Hi,

Congrats for your work, it seems to be a huge step forward to a full HD theatrical version of TPM.
As you know, I’m currently working on my own HD reconstruction for almost 1 year. It seems that I took a different way to get a theatrical reconstruction in HD quality (some of my sources and tools are different than yours + some “missing” scenes like the arrival on Coruscant or the Senate will be in true HD in my version, not in upscaled SD).

Thanks. I wanted to get this out quickly before the 35mm was released.

Yeah looks like your Senate shot is slightly better looking that mine. Im interested to know what sources you have that I don’t have and how you will be getting true HD for the Arrival on Coruscant scene, 35mm scan?

We could definitely consider collaborating on this, I’m pretty much ready to release this as a v1.0 in the next week or so. Ive had it sitting, ready to be finished since mid last year, I hit a stumbling block with audio sync issues and just ended up syncing directly to the LD audio rip.

As for missing or duped frames, I’m pretty sure I’ve “accounted” for all of them, any future (v2.0) release would have them restored and the audio patched to match it but since all the dropped/duped frames are on side/reel changes it’s not the end of the world to me.

Ronster said:
This shot was in the wrong hue… So I changed the hue realized you could color correct the sand.

Yours looks like the sand and the sky are at two different parts of the day. Just because something CAN look more colourful, doesn’t mean it should. I don’t think you quite get what this project is.

x264ing it now, this is my ffmpeg command, missing anything?

ffmpeg -i /Volumes/Video\ 4/TPM99\ THEATRICAL\ CUT\ PREVIEW\ RC05.mov
-c:v libx264 -pix_fmt yuv420p -preset veryslow -tune film -profile:v high -level 4.1 -crf 17 -c:a copy
TPM99\ THEATRICAL\ CUT\ PREVIEW\ RC05.mp4

Just got back from solo, very good.

5th times a charm. This one will have the cinema DTS synced to it.

Not off topic at all, from the horses mouth: http://lucasfilm.com/star-wars-episode-1-the-phantom-menace

ONE SEQUENCE FROM THE PHANTOM MENACE — A NIGHTTIME SCENE IN WHICH QUI-GON TAKES A SAMPLE OF ANAKIN’S BLOOD — WAS SHOT IN DIGITAL, MAKING IT THE FIRST FILM OF THIS SCALE TO UTILIZE THE NEW FORMAT.

Ive also read that some FX elements were shot in SD on a Canon XL1.

Thanks, I’ve just got the new shots so im going to render it again, so everyone will get a link tomorow.

I’ve got a 26GB preview file for this going up now, PM me if you would like the link. I could do with feedback.

Fixed, thanks!

Thanks for the comments guys.

I tried syncing up the DTS cinema audio (using the ac3), noticed that the Dialogue is spread over all 3 channels, is this right? Is the DTS cinema audio preferable to the LD audio?

Starts at 57mins 17sec

or 1495 feet from the start of reel 3

It’s The Phantom Menace, in HD and in its theatrical form. Many have started such a project but none seem to have made it in circulation. Here’s my attempt. Ive read through several threads and thanks for everyone whos put effort into solving a lot of these problems.

This Theatrical restoration is based off a capture of a HD broadcast tape of the DVD cut of the film. A High def telecine made in 1999, ported to Laserdisc & VHS, later recut into the Extended edition for DVD. Then distributed for HDTV broadcast. This one is largely identical to existing HDTV captures but a much higher bitrate. Here are a few stills that show improvements on some of the more extreme frames http://screenshotcomparison.com/comparison/114205.

It’s been recut into the theatrical version using the laserdisc and ORF broadcast as a guide, then synced to the laserdisc audio captured bit by bit by Schorman. To match the audio a few frames had to be dropped or duped at reel changes and side changes. The laser disc audio will be muxed with the video to avoid transcoding. Edit: Cinema DTS audio may also be included.

The HDTV source is regraded slightly to match the THX podrace demo DVD using Dr Dre’s color match tool. This is a subtle change and merely removes a light pink tint. The THX podrace is the theatrical cut so its assumed that it comes from the Theatrical scan of the film. Comparison between HDTV colors and regraded to the THX demo colors http://screenshotcomparison.com/comparison/114206

The HDTV burn in subtitles have been cut out with a mask made in photoshop and the fill in replaced with the PAL DVD. Theatrically accurate (or as close as one can get) subtitles have been created and match the timing and placement using the Z theatrical bootleg. http://screenshotcomparison.com/comparison/114207/

Missing TE shots come from the ORF broadcast (and one from the DVD bonus features), The bridge shot and the Senate shot have been fixed by rotoscoping the changed bits from the ORF broadcast into the HDTV. All other shots have been scaled up and regrained.

Some extra color corrections have been made. The blood test scene was shot on digital and the theatrical version would have had this as a video to film transfer, my guess is that the HDTV replaced these shots with a Video to Video transfer and has more natural colors. So a bit of grading makes those scenes resemble what’s on the LD/ORF a little more. http://www.framecompare.com/image-compare/screenshotcomparison/FB2FNNNU# Also during the podrace, a few shots in a tunnel are much redder on the THX and LD but neutral grey on the HDTV and Blu Ray, fixed with Dr Dre’s color match tool. http://www.framecompare.com/image-compare/screenshotcomparison/KLPGNNNX

I’ve also corrected a sync error on the HDTV master. The scene in the queen’s ship before they land on Naboo is one frame too early, with a frame duplicated to catch back up after 33 seconds. Its present on the HDTV and the PAL dvd so looks to be an error that occured when recutting the extended edition. Both the bluray and the LD/DVB versions do not have this error. i’ve fixed this by duping a frame a the start of the scene.

Here is a list of sources (UPDATED)

A high bitrate HD capture of the HDTV version.
Austrian ORF PAL broadcast (for patches and some grading references)
Podrace Theatrical Version from Disney TPM Digital Release (for two missing shots) Thanks Schorman
THX podrace demo DVD (grading reference)
PAL DVD (for subtitle fill in)
Schorman’s Laserdisc Audio Archive. (Audio source)
Schorman’s Cinema DTS conversion/sync.
Althor’s Laserdisc rip (for Reference)
Z theatrical bootleg VCD (for subtitle placement), Thanks Youtoo
2015 Pan and Scan HDTV recording (for subtitle timing, titles are different but timing seems to be frame accurate)
Bluray (Reference only)

Why not use the Bluray as a base? The HDTV is a scan of some sort of release print, possibly struck specifically for Telecine transfer (no subtitles) so is pretty close to what the theatrical experience would have been like. The Bluray on the other hand is a scan of the original negatives/film-outs but with a heck of a lot of DNR, presumably done for ease of 3D conversion. While the HDTV has a significant amount of Edge Enhancement and sharpening, it’s still leaps and bounds a better version of the film than the Bluray, IMHO.

I’m currently rendering out a copy from Premiere for preview purposes. If anyone wants to watch and quality check for me please let me know and I’ll send you a link to download. Once all is approved I’ll be uploading it to the usual places.

It’s significantly higher bitrate than most uhd remuxes out there thats for sure.

SilverWook said:

Danfun128 said:

“no home release ever had the subs burned in.” So the VHS releases don’t count then?

Yes they would, but with the OT they didn’t always use the theatrical font. I presume the OP wants to see what was actually on release prints.

Yep. The Old HDTV has burn in that has the wrong font, style and timing, Theres also a new HDTV version with the correct timing, very similar style but not quite, and a few corretions.

Getting a close look at the 35mm is what i need for my TPM restoration (yeah, im doing one too.)

Any frame will do. I can tell you that subtitles appear 450 ft from the start of reel 2 and 582 ft from the start of reel 3

Any chance you have some photos of frames with subtitles on them?

I watched the HDR version the other day and the bluray soon after that and found that the Blacks are elevated throughout the whole film. On TFA and every other star wars the starfield is pitch black, on TLJ its grey. Consider correcting that (if you havent)

So I had a look at the trailer for the 2017 Dolby Vision rerelease (https://www.youtube.com/watch?v=64IIfxDrhJY) and found that it has different colors to the 2012 release on the bluray. The colors seem to be a bit darker but with much less yellow. The seem a lot more natural to me.

Not only that but the trailer, while being an almost identical cut, is zoomed in by a small amount and while comparing using difference mode, many of the shots dont quite line up. This suggests the trailer was cut with a whole new master and not just a regrade of the current 2012 master.

I downloaded both the 2017 trailer and a trailer for the 2012 release from youtube and made this comparison image.
https://diff.pics/R6dJqHgjTVyb/1

A future 4K HDR release should look pretty good with these colors, but that could be years away.

I think the biggest challenge is round tripping UHD HDR content through and NLE and back out with metadata intact. I havent seen it done before. Personally id like to Regrain the T2 UHD release but cant find any info from someone whos done similar.

^…^ said:
By the way, I’ve discovered that the IMAX picture found here (http://media.washtimes.com.s3.amazonaws.com/media/image/2015/12/16/film_review-the_force_awakens.jpeg) - that is 1.33:1, by the way - has been recomposited (unless BD/HDTV were recomposited instead, but I don’t think it’s the case)

Wow, thats bizzare, i love finding little tidbits like this.