I haven’t used it, but it sounds like what you are describing.
I haven’t used it, but it sounds like what you are describing.
The VUDU “WEBRips” are still floating around.
EDIT: The following episodes on VUDU are not in their FS 4:3 broadcast format:
S1E14 TKO (LB 4:3)
S3E10 Severed Dreams (LB 4:3)
S5E03 The Paragon of Animals (WS 16:9)
S5E22 Sleeping in Light (LB 4:3)
These episodes retain 2.0 audio tracks and so are not without value.
When I import them to Vegas I don’t know how to map them or how to keep them loseless.
Set your project properties to 5.1. Each track should have a visual representation of the speakers, and you can pan the channel by dragging the orange dot (or however it’s represented in later versions) to the right speaker. Render as WAV/W64, and you won’t lose any quality owing to recompression.
Are that 6 mono files keeping the True HD?
There’s no quality loss upon converting to WAV.
I would like to obtain a single file because I’ve already edited a lot in the timeline and I could keep them if I replace the w64 5.1 file that I’ve using for the edit.
What’s incorrect about the w64 file? Use eac3to to produce one. As long as you set up each track properly, there shouldn’t be a problem.
Working on a scene, i´ve tried to use frame blending and it produces a better result…
A better result than what?
And another question, why the frame blending is not removing all the distortion/iterlacing?
Frame blending is not a solution to combing. It’s the worst thing you can do to a video in almost all circumstances. If you are seeing combing and the video is 29.97fps, it’s far more likely that you need to perform an inverse telecine – for example, by using TIVTC with AviSynth.
Make a project for each episode.
For menus, try the trial version of DVD Lab Pro 2. It should be fully functional – limited to 30 days.
If you need to demux the existing DVD, use PGCDemux. If you only want to add the subtitles, you can remux with MuxMan (free version).
I mean a shot by shot regrade that aims to improve consistency without the use of a reference.
Oh, I see. That being so, the rest logically follows. 😃
A shot by shot regrade destroys the color relationships between shots, and thus cannot really be seen as an accurate representation of what was seen in theatres in 1977.
If the shots in the reference print differ from each other, but individual LUTs accurately match each shot from the target (4k77, the BD, whatever) to each shot from the reference, then surely the color relationships should be preserved? By “color relationships between shots”, I assume that you mean the inconsistencies in color that occur from shot to shot.
This might help, especially section 2.6.
It was a play on the famous line by the English writer G.K. Chesterton in 1911
x264 is a DCT-based codec, so everything always gets converted into the frequency domain on a per-block basis, which of course can introduce rounding errors in theory, especially at 8 bit. It’s possible they have ways to avoid this, but it’s something to keep in mind.
Yes. This is why I’m not convinced that x264 is truly lossless.
Analog mixes, with their inherent limitations, just so happened to fall into the range of what is comfortable for people to listen to over long periods.
That being so, a helpful guideline for audio engineers might be to mix in digital as if analog were the intended output.
Jay, many thanks for all your years of hard work! Without this forum, it would have been considerably harder for discontented cinephiles to find – and learn from – each other, and many fan projects might not have gotten off the ground.
And so it begins…
Did you try it? I don’t hear it at all. I don’t even think I hear it when I duplicate the frame 10 times.
Yes, I’ve tried it many times. It’s certainly noticeable when I duplicate a frame ten times in a situation like this. But it’s up to you.
But it’s about syncing to 4k83 so I guess we don’t have to move the discussion. 😃
That’s true, but I didn’t want to clutter up the thread with too much GOUT discussion, some of which has already spilled over from the other thread into this one.
I was not sure about the frame count so I just picked a save number. The length of the audio file won’t increase because of a blank clip with to many frames.
I just thought that the information might come in useful.
I added 4k83 to page1 of the thread.
I want to be able to sync any of schorman’s GOUT synced laserdisc tracks to 4k83. So as I understood it somewhere 2 frames need to be inserted. So I want to duplicate the frame before the 2 extra frames 2 times to get an audio file of the correct length, like in the script above.
The result wouldn’t sound very smooth, but you could do that. If you take that approach, duplicate the frame before once and the frame after once: it will be less noticeable.
However, frame 68663 is already past the wipe, so I don’t think it’s the correct position.
It is though – I’ve checked. The missing frames occur before the cut to the briefing room. After the wipe, watch the first fighter that clears the nose of the Mon Calamari vessel.
If you want to continue this discussion, perhaps we should be move it to the GOUT-sync thread. 😃
EDIT: By the way, the frame-count of the NTSC GOUT post-IVTC is 190799.
My Avisynth-fu has never been anything except rusty, but I think that means if you delete frames 68664 and 68665 from 4k83, you’ll get NTSC GOUT.
That’s right. 😃
Although I don’t see how there can be 2 extra frames after frame 68663.
It’s the two missing frames of the rebel fleet immediately after Luke’s conversation with Ben. Perhaps you are more used to the PAL GOUT.
What are you trying to re-sync, Arnied?
Okay, but I also mentioned missing frames, not just audio.
You did, and I addressed the frames issue as well.
Why go through that trouble with cutting the audio and frames from a more complete source just to conform to a less complete source? If the answer is just that it’s convenient to stick with a known standard that already has other tracks synced to it, then I certainly understand that. I just personally value completeness and historical accuracy more.
It’s convenience and a desire to uphold a consistent standard to avoid confusing people. Until now, people have known that they can swap tracks between GOUT-synced releases (which the vast majority of major projects were) and not worry about sync issues. Changing standards would bring considerable potential for confusion.
When I say it’s “flawed”, I mean that frames are missing and the audio (at least in ROTJ) had to be looped in a certain place to maintain sync with the video.
And I repeat that it doesn’t matter what the audio on the GOUT is like, because one can still use the GOUT as a standard for which frames to include in any given release. The fact that the missing frames for RotJ are in the middle of a reel makes adjusting the audio a little trickier, but it can still be done in high quality with software that can stretch small portions of an audio track to maintain sync but leave the rest untouched.
And it just seems counterintuitive to actively remove frames & audio, just so it syncs with the flawed GOUT audio.
It’s got nothing to do with syncing to the GOUT audio. The GOUT standard was about which frames were to be included in any given release so that decent audio, subtitles, and foreign dubs could be easily muxed in. This was very important in the days when we were syncing LDs that had all sort of frame differences – those were the releases that sometimes had black frames inserted to maintain sync; it was also important when editions (notably Harmy’s) that were based on the SE DVDs (and later the BDs) were produced. The GOUT could have been released with a laugh track and still have served as the basis for a standard as to which frames to include.
Why would anyone insist on maintaining an incomplete and low quality standard like the 2006 gout.
Again, it’s got nothing to do with the quality of the GOUT. The GOUT could have been a film scan, the best DVD release in history, or the low-quality LB 4:3 DVD that it was and still have served as the basis for the standard. There are high-quality UHD BDs based on excellent modern remasters that drop frames that were found in earlier releases – they are not butchering films by doing so, because there’s nothing sacred about a frame or two. Competing modern restorations drop different ones.
If people want to push for a new standard, that’s fine. I’ve reluctantly come to accept that we’ll probably get one whether I like it or not, and I’m prepared to contribute (as far as I am able) to the effort to resync existing work. But I wish people would drop the misconception that the GOUT’s being a low-quality source has any inherent connection with its serving as a standard – it doesn’t.
Overall this is more about correcting existing sync problems, by using the more reliable reference which is now available.
Do you plan to sync your mixes to both the GOUT and frame-complete releases such as 4k83, or are you going to pick one?
I’m currently beginning the tedious process of converting the frame numbers for the reels into timecode that I can see in my audio editor, so once I’ve done that I’ll know exactly how the sync of Jedi is supposed to work.
Is there no way you can automate the conversion? At worst, you can read off the frame-numbers in VirtualDub/AviSynth.
That’s the question. I’m willing to jump on board if some other video maintainer does, but at the moment I’m not jumping based on speculation/probability.
It’s certainly one pertinent question. I don’t imagine anyone expects you to adopt a new standard straight away. It’s early days yet.