Harmy

LOL to that :-D

http://www.youtube.com/watch?v=Xzocvh60xBU

corellian77 said:

...the images above appear to show noise in the GOUT that is absent from the X0 capture)

Well, the "noice" you're speaking about is only not visible in the X0 transfer because there is detail loss.

I'm not technically savvy when it comes to preservations, but MeBeJedi's recent comment would seem to indicate that, despite appearances, there is still more to milk out of the X0 LD rip than the GOUT.  If such is the case, I'm curious to know what this capture can allow one to do that the GOUT can't.

That. I also don't know much about the technical side of these things and would like to know what could be done with the LD transfers that couldn't be done with GOUT converted to lossless avi? I hope I don't come across sarcastic or anything, I'm seriously interested :-)

What thread? Link?

msycamore said:

I think what Harmy meant is that some people are maybe expecting a miracle just from this raw capture when it isn't. 

Yeah, that's exactly what I meant.

msycamore said:

Harmy said:

...but capturing the 1993DC doesn't seem to make a lot of sense to me.

It did make a lot of sense when Laserman captured these, GOUT wasn't available back then.

Well, yeah sure, I just don't see what's all the fuss about now, when we do have the GOUT (and it sucks but it probably sucks a tiny bit less than even the best possible LD transfer).

People seem to think of the X0 project as some kind of holy grail but on it's own, the capture is just another LD capture that is slightly inferior to the GOUT.

The black magic process seemed to be something worthwhile and for that it would have made sense to make really high quality captures of all the different LDs and then combining them into a better picture. People saw those pictures that were supposedly the results of the Black Magic and they seem to expect that kind of quality from the raw caps, I'm afraid they're gonna be disappointed.

I'm quite positive now, that we won't be getting anything we don't already have.

While waiting for one of the GOUT upscale projects to be finished, I'm working on what can be done using the 97SE. Here's a little preview:

http://www.youtube.com/watch?v=6IOAUJx0YNE

Rob said:

Harmy said:

Well, the aliasing and DVNR are inherent to the laserdisc master so it will always be there no matter what. I honestly can't imagine any laserdisc capture being better than the GOUT, based on the fact that the GOUT is encoded from the same master as the LDs, so it's the same (2nd) generation copy of the master as the LDs but made using newer technology. Any LD capture will be a 3rd generation copy. But I'd be happy to be proved wrong on that.

 Couldn't it make quite a difference being that it will be 16X9? The GOUT is letterboxed and unless you want to watch it fully framed with a foot of black on all sides, you have to use the wide zoom setting on the tv which makes it look extremely fuzzy. I'm hoping that letterboxed vs 16x9 will make a big difference, but maybe I'm just being queer about it. I better not be too queer though, it seems that Molly is a homophobe. That usually means that someone is gay themselves, or at least does quite a bit of scissoring.

Yeah, but as you can see, the captures are not 16x9, so they would have to be anamorphicized much the same way as many projects did with the GOUT and as the GOUT is probably higher quality to begin with, there's no point using a LD capture. A pristine capture of a LD other than the 1993DC may be a different matter because some scenes could be replaced by it where the DVNR is really bad on the GOUT but capturing the 1993DC doesn't seem to make a lot of sense to me.

And here is the same frame from the NTSC GOUT:

Well, the aliasing and DVNR are inherent to the laserdisc master so it will always be there no matter what. I honestly can't imagine any laserdisc capture being better than the GOUT, based on the fact that the GOUT is encoded from the same master as the LDs, so it's the same (2nd) generation copy of the master as the LDs but made using newer technology. Any LD capture will be a 3rd generation copy. But I'd be happy to be proved wrong on that.

Yeah, that'd be cool, or perhaps even a little sample video?

Here's a link to the fixed 97 Jabba scene on youtube and here to an HQ mp4 file.

I was never disappointed by any Ridley Scott film for example. They may not all be super great defining work of cinema but they're all good movies. And I also love every single Christopher Nolan film (though he still has plenty of time to screw up). I'm sure if I thought hard I could come up with more but I agree in principle that most artist don't stay great forever.

PM sent :-)

Man, that's a joke, right?

Well, it's not 100% seamless when you know what to look for but yeah, I'm pretty proud of those shots :-)

PM sent :-)

Sorry, it should be fixed now.

OK, I finally finished the comparisons. It's a powerpoint presentation and you can find it here.

Marsellus Wallace says: 

"chill them niggers out and wait for the Wolf who should be coming directly."

Yeah, a digitally recomposited effects shot, as long as it doesn't noticeably alter the layout, doesn't really change anything in terms of the original intentions of the film-makers (although it does take away most of the effect's historical value) but this zooming in stuff is one of the changes that I find quite offensive, as it alters the original director's and director of photography's intention and all that without their permission and that's why I tried (and hopefully succeeded) to unzoom them in my Despecialized Empire.

No, I have these 97 tapes with the "making of SE" featurettes and I remember them very well, because I used to watch them all the time as a kid. They did speak about fixing the matte lines on the snowspeeders. But they only spoke about the matte lines on the Rancor to show and explain what the matte lines were, because they were so clearly visible in those shots. 

Well, yeah I also thought it was an appropriate fix for a Special Edition, where they fixed matte lines in shots that didn't really need it and then didn't fix them in a scene like this, which really needed it. I'm just saying that such a fix has no place in the original.

PM sent :-)

And this one:

Well, not bright, no, it's actually much less bright in many places than the SE. But saturated, pretty much yeah, I like it that way and from what I saw, these were colourful films when they came out. Some people's desaturated colouring (the extreme example of which is the stuff that's going on in the Ep IV Radical Redux thread and such but even Ady's Revisited in some places) would fit a horror film rather than a light-hearted space fantasy.