Chewtobacca

_,,,^..^,,,_ said:maybe due to a blink of my eyes...

 And I thought you never blinked. :D

The trailer looks promising to me.  It seems close to the Mondo but with a slight push in the direction of the 2014 MGM.

TheHutt said:The glitches indicated by kk650 are mostly inherent in the original mono sound and not the result of its synching to the 4K edition. Some of them are actually still present in the mono downmix of the 4K.

 If so, I wouldn't worry about them.

PDB said:It appears the mono on the new 4K BD is a downmix (according to people on blu-ray.com)

I read that too but have been waiting for someone I trust here to verify it.  If true, it's a real shame: even though a lossless track would have been preferable, DD 1.0 at 192kbps would have been more or less transparent to the source.

Re: the mono

I'm not working on it at the moment.  Syncing without a visual guide would be a new thing for me, so perhaps someone here might handle the mono.  In the first instance, I planned to make a synced English DTS-HD MA 5.1 track, which could be used as a guide track for the mono. 

At the moment, everything apart from the script that I mentioned above is just an idea though.

PDB said:  Re-creating the International cut in HD is going to be a hard piece of work for whoever takes it on. Its not just removing the Italian scenes, there are a ton of 1 or 2 second shots to remove also. And then putting in the tiny bits from the International cut. There is a lot to work to do.

It's not too bad actually.  In terms of frames, the Mondo seems to be closer to the 2014 BD than it was to the previous MGM one.  Most of the time, the Mondo has more frames, so deleting them syncs the two quite nicely.   I've almost finished a script that does that.  (It duplicates a few frames in places in which they would not be noticed, but these can be deleted easily enough if necessary.)  The script also recuts the beating scene, which is the only major difference between the Italian theatrical cut and the extended cut; obviously, the missing shots will have to be color-corrected and inserted from another source.

Apart from that, the English credits can be spliced in easily enough.  The shots that have Il Buono, Il Brutto and Il Cattivo can be replaced.

All of this is, of course, if people decide that the Mondo is the best source.  If the 2014 BD can be color-corected to people's satisfaction, then the work is even easier.  But I'm not yet convinced that it can be.

^ Let me know if you ever want certain scenes from the broadcasts.  I'll trim them out for you.

It is a shame not to be able to use the superior detail from the new BD.  I wonder if the colors can be restored or if the situation is like FotR and the damage can be only partially undone (as Spaced Ranger demonstrated in one of his posts, which I can't find it).  Obviously, one can color-correct what is there, but that's not the same thing.

The Italian BD certainly looks better in terms of color.  It's also noticeably brighter throughout.

The 2014 MGM BD (top) does not have a vertical-flip effect that is present on the Mondo (bottom).

It also *seems* to lack a splash effect.

EDIT:  Actually, it does have the splash: it's just that this shot is edited differently between the two BDs: the splash occurs later in the 2014 BD despite the fact that the shot lasts almost exactly the same number of frames.

Who has synced the PCM mono for the TGTBaTU to a BD or DVD release?  I've forgotten who had what and who was working on what.

If you're happy and don't want to change anything, then there's not much more to be said, but I would point out that I heard the cuts without looking for them.

42:54

43:06

43:58?

I'm fairly sure I can hear all of your audio edits.  Are you crossfading at edit points?

I mean in terms of the audio.

I too would leave the settings.  They look fine to me.  Good job!

I heard the edits to the Mos Eisley approach though and think that making them smoother would be an improvement.

^ HF9G-ESB

Harmy said:

Could someone who has some decent transfer of the JSC please extract the scene where the Falcon comes to cloud city (from the wipe from Luke up to the point when the land) and then the shot, where they added the window just before Lando opens the door and reveals Vader, and upload it for me somewhere Thanks!

 Yes.

That's true, and it is puzzling, but I received the impression (from post #24) that csd79 meant different captures of the same disc, rather than differences between captures of different discs/pressings.  Perhaps I misunderstood though.

Thanks for the info, csd79.  I'd still recommend keeping the nominal analogue blanking (sidebars) for the DVD, but it's up to you. :-)

It puzzles me that the problematic fields show up in some captures but not others.

Thanks, especially for posting the script.  You're putting a great deal of work into this.

Are you using the BD to guide your correction of the AR or relying on PAR?  If you're planning to release a DVD, consider keeping the nominal analogue blanking and resizing only vertically.

Are you using Moth3r's guide to inform your color correction or following personal preference?

MarkerB said:  The framerate of the 14GB Cinemax TS capture I've seen is 60 fps, which is a US TV standard and certainly not the 24 fps that the movie was shot in.  I don't think the uploader of that version did any re-encoding.  Once the broadcaster changes the frame rate, I think there's little hope of fixing a lack of smoothness in the time-domain.  If the version you saw was derived from what I saw, it's going to be a mess not matter what they try to do with a re-encode.

That's not true.  The Cinemax broadcast is almost completely soft telecined.  It's a simple matter to restore the original frame-rate.  If there's a problem with the re-encode, it's the fault of the one who encoded it, not the source material.

csd79 said: They are already gone.

 Brilliant! :D

csd79 said:Chewtobacca: if you were refering to Andreas pan-up idea, AFAIK the JSC and this pressing are two different transfers, so they need to be registered first.

Yes.  I meant PaNup and his ruLes project, though I am not entirely sure how he combined sources for the latter.  You are of course right about registration.  It's something I wish I knew how to do properly.  All I've done so far is lay one image on top of another in Photoshop.

I'll add some details about the equipment and method used to the first post.

I'm impressed.  You seem to have done a great deal already.  It's great to hear that the original crawl has been restored.

May I ask what you plan to do about the Tantive orange errors?  I absolutely hate them, but some people don't mind them, so it's no big deal if they're staying.  (The JSC doesn't have them, as you probably know.)

The preview clip looks very promising, csd79.  :)

I wonder if there's potential to combine your capture with althor's capture of the JSC.  Andrea's done some good work combining LD sources, so it would be interesting to see if it's possible to combine the only two smear-free sources of the original SW on home video.

Always use rewritable discs to test downloads.

PDB said:

So I guess we get back to the heart of the matter, is it worth all the trouble to convert to 48? Does changing it to 48 affect the quality?

It inevitably affects quality.  The high-quality resamplers minimise the damage.

Converting to 48 is unavoidable if one must have a disc playable in a stand-alone player, which is an understandable requirement; however, if it's done after editing, two tracks can be released: one at 44.1 and one at 48.  This way, nobody loses: those who wish to remux to MKV have the option of keeping the original sampling rate; those who want a resampled version can have it; the only change in the editor's workflow is that he resamples the guide track, rather than the track that he wishes to sync.

Again, I'm sincerely sorry if it looks like I'm pushing to have things my way, but it doesn't make sense to me to insist (justifiably) on bit-perfect rips and then to resample the result, especially in a less-than-ideal way.  It's a bit like insisting on buying paper of the highest quality and then giving it to a two-year-old to doodle on it (though obviously that analogy's an extreme one).