Harmy

hairy_hen said:

I want to have the 5.1 track finished in the next few weeks so that it can be included on the Despecialized Edition 2.0, without causing Harmy any unnecessary delays.  

Thanks for the consideration. I was actually just gonna ask how far along you were.

So I finished rendering the final WP (it took just shy of 35 hrs to render :-/ ) and now I'm about to start uploading it. It's only something like 3.7GB MKV, so the quality isn't super high but very watchable.  I forgot to set the cropping parameters before rendering, so you'll be treated to brighter boarders from time to time but nothing too gruesome hopefully. It has the monomix for audio (in correct speed - the usual on-screen timecode will make sure that you can give me any observations with the correct timecode for my project file) and if you wish you can mux it with any GOUT synced audio you want.

If you want to check it out, please send me an e-mail to jipph@email.cz, please don't send me PMs, the size of the inbox is really small here. If you're a member here, please give me your user name in the email. Also be patient, it will take ages to upload the whole thing.

msycamore said:

About those laser bolts, I'm only sure about those who appear in the absolutely last shot before Vader's entrance as the position and timing of them is so clearly different but there may be more of them in there of course.

So is that only those three in your post then? If so, I'll fix them.

Wow, what a difference. I love the idea that you guys are doing an actual physical restoration/clean-up of the film itself. BTW is the film actually this red or is it just due to the conditions under which the photo was taken?

Thank you. Well, I don't see any difference in the first two x-wing shots (I'm not saying they weren't recomped but I just don't see any difference to justify using GOUT). The 2nd Luke's glove shot was fixed (it already is in the last WP).

The lasers do bother me a little but it would be a lot of work to redo something that lasts one frame and isn't substantially different (unlike say the lasers in the first flyby shot) and I don't know which all of them are (if someone wants to take pictures of all of them in my WP, so I know the exact frame in my project file and take pictures of them from GOUT, so I don't have to, I'll be happy to play around with it ;-D). 

I can't really remove the added shake without removing the original shake as well.

As to that shot of Yavin, I know there are two and both of them have the right to left movement that is said in 005's comment to be missing, which is what I was really trying to say.

Well, I'd like to know which they are (I did fix some that aren't in 005's list but most of those don't really quite qualify as changes by the standards of the list).

Great news about this nearing completion. How soon do you think the HD version will follow the DVD?

Well, the quote only confirms that a full on restoration was only done for one film. But to be honest, it seems to me that judging from the HDTV broadcasts of the other two, they didn't really need a new restoration.

Well, in a way, Jedi and ESB will have to be started from scratch because of sourcing them from BD but I will use most of the old despecialized shots.

@thxita: Sounds great guys :-)

@n00b: That shot bothered me as well but I've finally manage to fix it.

@keysersoze5: Yeah, I'm working on that :-)

@bilditup1: Sure, that'd be great.

Dunno, doesn't seem monochromatic to me:

@Jonno: Yeah, I'm not doing that.

@Oldschooljedi: 005 is absolutely right, it was always like that.

Now that is interesting.

As to the LPP print, Eastman's low fade stock wasn't introduced until the early 80s, so the LPP print may not represent the original colour timing.

I would have thought that when producing the IB Prints they'd just be copying an inter negative which would already have the colour timing of an IP that would have been used for making other INs, so all IN and subsequently prints derived from that IP should have the same colour timing (or at least the same colour timing anomalies - overall brightness and contrast and saturation may differ). Am I wrong? Or could there at least be such a substantial difference between different IPs? How did they make sure that all IPs had the same or similar colourtiming; was the process somehow automated or did they have to set the timing for each shot manually every time a new IP was derived from the ONeg?

Anyway, here's the LS fight as it will appear in the final version:

http://uloz.to/xRu8mpX/ls-fight-new-new-mp4

I managed to get rid of the pink tint that plagued a part of the scene:

Thanks for chipping in Mike, your insight is invaluable. I actually tend to agree (which is why I did it the way I did it in the WP in the first place) I just took the opposite stance to stir a little argument, so I'd know where people stand on this. This place is pretty dead lately :-) I may shift it slightly more blue just as a sort of wink to the original timing but I'm not going to make it look like there's a deep blue foil put in front of the projector lens :-)

The weird thing is that there are two different shots from this angle and they are both timed like this, so it almost seems intentional. But yeah, it isn't even remotely like that in any other source I've seen, so I guess I could leave it as it is with fairly clear conscience.

That's the thing though, those were mistakes that someone made back then and millions of people saw the film with those mistakes. And again, garbage mattes always seem to come up in these kinds of discussions and I always have to repeat that I only try to remove them because in optimal projection conditions, those wouldn't have been visible, and if I knew they were always visible, I'd probably be putting garbage mattes back where they were removed in the SE, just like matte lines or colourless lightsabres.

So, I was thinking; there are many small colour anomalies in the original colour timing, like one shot having a blue cast and the next having a purple one and such. It is usually minor and not too distracting, so most of the time I kept true to them but I did make one rather major exception: the two shots from this angle:

The top is how it appears in the WP, the bottom is almost exactly how it appears on the I.B. print; all the other shots in the print look pretty much the way they look in the WP, so these two stand out quite a bit. What do you guys think, should I make them look like this?

Only the shots that were altered in the SE that I couldn't fix any other way are sourced completely from GOUT of course.

Shot is either shifted a few frames, or at the beginning it is zoomed in originally. (1997 Change)

I overlayed the two when undoing the change and I can state with absolute confidence, that it is definitely shifted by a few frames and no zooming took place in either version.

Erikstormtrooper said:

As usual, my late comments on Reel 5:

1:22:01 - purple cast on chasm

1:22:16 - purple cast on chasm

This is actually exactly like that on my colour references.

1:24:36:10 - The pink shift starts about here.

1:25:19 - Pink shift seems to be gone, but it's hard to tell exactly where it ends.

I already tried to fix it. I'll probably post a video later.

1:27:32 - Purple cast on falcon, especially under radar dish

1:28:41-43 - Faint junk mattes around TIEs.

I'll see what I can do about those two.

Thanks for the feedback :-)

I'll definitely want that. (I've actually already got something similar from Luffy03 but if I remember correctly, I don't think he used the BD, so it's still missing some stuff.)

Yeah, no. I'm not redoing the credits, sorry. Especially since the assumption is that the credits I'm using were the more widely seen version in '77, so it's not even a contradiction to have them together with the '77 crawl.