There’s no need to do it that way, when the theatrical blu-ray generally has much less DNR (for live action), so you edit that to match the DE edition. This is what I will be doing.
While I certainly appreciate everyone’s enthusiasm for the film, it’s probably time to make a separate thread for any different project you are working on.
For my part, I will be doing my own fanedit of the new master as detailed here:
I bought the UHD and was extremely disappointed to discover it had a bunch of DNR all over it. No timeline on this (probably not any time soon), but it will happen at some point.
I actually just recently watched the Arrow release of this for the first time and was reminded of this project. I’m really happy to see you are working on on it again!
Knowing the DC has a pasted together audio track I opted for the US theatrical cut and while the Tangerine Dream score is perfectly fine, that hall of columns clip you posted is fantastic.
The Probert concept was for a grand officer lounge:
(as seen in the final film here when Spock’s shuttle approaches):
They had to scrap this as they were behind on budget and time.
Both DC changes (first adding the nacelles and then adding this backdrop) are at attempt to bring this to the film.
Both attempts unfortunately look very poor and they should have just avoided doing so (the added nacelles screw with the visual weight of the frame, and the attempt to blow out the wall looks amateurish). This video is a decent illustration of what they are conceptually going for, though:
I meant in regards to the effects that had no work done on them a look bad getting fixed. I can’t talk about the quality of the movie because I never seen any of og Star Trek same goes for most of Star Trek the next generation.
Not that I disagree with the notion that some of the effects work on this doesn’t look great, but why exactly are you invested in this without having seen the film, lol?
I would strongly recommend watching “the Motion Picture” when it releases on disc. The vintage effects work is stunning, and while others will point to Khan as more emblematic of the relationships at the core of Trek (and I probably agree), I find that TMP’s serious take on high concept sci-fi makes for easily the best Star Trek film. This is particularly with the final (and very necessary) pass on the editing and sound design the director’s edition offers. And outside of the context of Trek, what I think often gets dismissed as middlebrow space fare genuinely deserves a place among Wise’s best efforts.
The fact we have this in UHD, even with its (expected) shortcomings is fantastic and I recommend you give it a shot (the rotowork is bad, but it goes by in a minute 😉 ).
Based on every indication from the producers of the DE, from like 2007 to present, the deleted scenes will almost certainly be included (including the rediscovered ADR!) and there’s a decent shot they include the full SLV as an extra.
there’s a decent shot they include it in the UHD disc release they are planning (they have always talked about this) and if not, they will be including the deleted scenes, making it pretty simple to put together.
We finally have a release date for the new 4K/HD master of Star Trek: The Motion Picture - The Director’s Edition, releasing April 5th on Paramount+ with a disc release later in the year! Produced by the orignal team, this release is very exciting, and I can hardly wait. Obviously the new master will have different creative decisions with regards to how best update the old CGI, (from the trailer, some of it very nice and some is quite iffy) but irregardless, the general quality of the new edition should thoroughly exceed my old fanedit and will be the one to watch. This project will still remain up for posterity, but for first-time viewing, I will direct you to what hopefully will be the definitive edition of Star Trek: The Motion Picture.
This guide is from 2016 and was only for the bluray. If you have the UHD, the file names will not match and you’ll unfortunately have to determine how things fit together on your own.
Here are the original PDFs from the first post in the thread:
This is still available as of 2022.
PM me (click my username and select “create a private topic”) if you would like a copy.
This is still available as of 2022, and I have PM’d everyone who wanted a copy in this thread.
PM me (click my username and select “create a private topic”) if you would like a copy.
This was captured by a member here so we are good. If anyone needs a copy I can provide one via DM.
There’s just far too much artifacting there. It may look superficially sharper at a glance, but the detail it’s faking is both uncanny (look at the poor guy’s octopus arm in the lower left) and unfilmic (look at the weird gird pattern it put over everything because it confused MPEG compression for part of the scene). These problems are universal to all machine learning “AI” tools: they are not suited to restoration or archival work. Not to mention half of this plate is (a very outdated) HD scan already, so it’s not even increasing the resolution, just doing odd things to it.
If you want better-looking images, you need a better source. It’s that simple; there’s no magic shortcut you can take. I really hope Paramount greenlights a 4K restoration of this film, because that’s the only way we will get it in the quality it deserves.
Roy Budd was a British jazz pianist and composer best known for his film scores, including Get Carter and The Wild Geese. In 1993, Roy Budd composed a symphonic score for the 1929 version of the 1925 silent film The Phantom of the Opera, realizing a long-held dream. Unfortunately, his abrupt death prevented the score from being heard, until it was recently released on CD and DVD in conjunction with a premiere of the score at the London Coliseum.
The DVD uses a version of the score recorded in the mid-nineties, and the picture is a low quality telecine prepared for that release. This version syncs the score to an HD picture. This updated version of my first effort improves the picture quality further (utilizing the latest HD image I’ve prepared for Phantom) while adding tinting inspired by the tints used on the Roy Budd DVD.
The film largely plays at 22 frames second within a more standard 60fps file and is synced to the score as it appears on the DVD.
Video: 1080p 60fps 16gb MKV - Tinted black and white with technicolor sequence – 01:25:55
Aspect ratio: 1.2:1
Audio: Untouched Dolby Digital from the DVD (there are brief dropouts, but those are on the DVD)
Producer Euan Lloyd in discussion about Roy Budd’s score to the Phantom of the Opera (I’ve edited together two interviews available on Roy Budd’s website)
BBC 1 story
From the DVD:
Interview with Get Carter director Mike Hodges
Roy Budd playing piano with the Roy Budd Trio at the 1983 Bob Hope Gala
Video technical notes:
This release largely uses the image from my previous rare scores collection (with some small fixes) while added tinting inspired by the tints used on the Roy Budd DVD. I’ve added some additional tints to scenes to keep things varied.
As the various home media releases of Phantom have differing levels of quality, this edit uses the Kino, Image, and BFI blu-rays for greatest picture quality.
The Image and Kino blurays use the same underlying master. The Kino master is a much better encode with a better grain structure, but inadvertently crushes the black levels of some scenes while trying improve the look of the tinting. It also has various small editing and sync errors, mostly introduced while trying to fix splice marks. I created a composite by syncing the two together and overlaying the mid-tones and highlights from the Kino disk over the shadow detail from the Image disk. This helped me preserve shadow detail while correcting sync errors. The resulting picture is somewhat softer than the Kino disk, while still looking much better than the Image disk. This affords a good look to the film with less problems than the Kino or Image presentations on their own and in my mind is the best option outside of evaluating the picture on a shot-to-shot basis.
The opening of the film through Carlotta speaking to the owners is taken from the BFI bluray, as it digitally removes the troublesome hair that wiggles all around the gate. Because the BFI bluray runs at 24fps and uses frame duplication to sync to it’s soundtrack, I had to use a decimate filter and then carefully match the footage frame by frame to the Image/Kino source to ensure there were no frames missing.
Some shots in the cellars were taken from the newly discovered sound reel of Phantom on the BFI disc. It lacked the damage in the other 35mm copy.
Bal masque sequence: The BFI bluray has poor coloration. The Kino Bluray and 24fps Image bluray has frame blending from an incorrect frame rate conversion. I took the interlaced 20fps Image bluray and deinterlaced it, eliminating as many blended field frames as possible.
Rooftop scene: The shots of Christine and Raoul come from the BFI bluray (better detail), with color correction to fix the rather poor tinting. The shots of the Phantom come from the Kino disc (better detail than the BFI, which uses a copy taken from an earlier Channel 4 restoration).
Finale: The Kino Bluray and 24fps Image bluray again have frame blending from an incorrect frame rate conversion. The BFI bluray is tinted so strongly here as to be indiscernible. Even color correction shows that there is no detail to regain. I took the interlaced 20fps Image blu-ray and deinterlaced it, eliminating as many blended field frames as possible. This results in a rather soft look with lots of dirt (the interlaced master had no computer restoration done on it), but it’s the best the sequence has ever looked on home media.
Pm me for a link or available on myspleen.
EDIT: I sent you a PM, but it’s not showing up in my private topics section (my private messages with others are though). I sent it again but that’s not not showing up either. Figured I’d let you know in case there’s some issue with the website.
I sent you a reply to your 2nd pm, let me know if you haven’t received it.
But some scene are not of the Director’s Cut. In the scene of kirk, spock and McCoy in the officers Lounge from the windows there’isnt the Warp Nacelle. When the Enterprise came in the V-Ger Location the scene is from the Teatrical Edition, not of the Director’s.
There are two versions of this, the purist edition has the further DVD effects you want. I will pm you the links.
I see that account has already been banned for being rude and spamming, but I found the comment funny. I include subtitles for this project (in multiple languages) and I certainly don’t mind it being on public trackers: I want as many people to enjoy it as possible. The problem is no one seeds stuff like this on public trackers anymore.
Dek Rollins said:
In my opinion, the 1.66:1 framing feels way too tight in many scenes. The crop isn’t even applied consistently, leading me to believe it may not have been intended to be masked.
Really? Those matted screenshots sure do show more horizontal picture info than the open matte screenshots…
Their point is that the opening title and subsequent crop are different, which would not be the case if the film was intended to be matted to 1.66:1. The 2nd crop has that off center crop reminiscent of how they screwed up Seinfeld and some other shows shot originally for 4:3. The extra image on the left would be matted out when adding the soundtrack to the final print.
It’s definitively quite tight. I had always assumed it was one of those deals where it’s framed for academy ratio and protected for 1.66:1, but the fact that you say the crop changes throughout challenges that idea. If that’s the case, why release the other two in their original ratio and crop this one? Very strange.
I’m totally up for the a 4:3 version at PAL speed. Maybe you could use ColorMatch to make it closer resemble the bluray (which has better colors).
I mean, the 1.66:1 is supposedly a valid aspect ratio for A Close Shave, which was framed with theatrical exhibition in mind as well.
I used the NSTC DVD. All of the Director’s cut was completed at SD resolution in NSTC (including introducing weird hard-pulldown issues in the edit process) The Pal DVD is actually an upscale and thus doesn’t look as good and has framerate issues where the NSTC DVD ran at 30fps or broke the pulldown cadence. I thought about using the PAL disc to help get rid of hard subs for the one establishing shot of San Francisco Bay but ,because of these issues, the approach I went with initially worked better anyway. I did use two different PAL discs to source the subtitles for this release.
Thanks! Enjoy your holidays as well!
You could try to go back and do version closer to your original test, but cut out the “rather talkative cargo pilot line” and the “time and ally of the Rebellion” line. Cutting those lines can help from repeating those shots as much as possible.
I’m going to potentially try something like what you initially suggested and also see if shortening his dialogue in this way makes the current version any better.
But you would still need to change the background of the Krennic shot, or at least remove the panel where we can see the Death Star in the background. Enough to show that it might just be the other side of the bridge windows.
Oh, that’s a good idea, I can probably work with just changing what’s in the window.
If you just had to have another insert for that second Tarkin scene, maybe you could use another angle of the technicians pressing buttons that is from the scene that you removed after the Jedha test.
I have a version that does this, but I actually feel that this shot of him turning works better than the other shots (maybe with some more color correction). We don’t really see this angle in this scene otherwise, and there’s nothing to suggest that there can’t be windows behind them. (And I can probably get rid of the left window panel to obscure the death star more than it is already).
Well there reason I suggested cutting that scene sooner where he asks if the plans are on Scarif is because the multiple wide shots are awkward partially because how the officer keep slowly swinging his arms as he is standing there because of how you reused the shots. If you could make just make that part of him a still image it might be less noticeable.
Yep, it’s smart to get rid of the last one, I going to give it go again. The arm swinging can probably be fixed too, I just need to get creative with the speed control and matting.