Jetrell Fo

Maybe MediaInfo is wrong?  Stranger things HAVE been known to happen.

Understood and appreciated.  Thanks for clarifying.

:)

I guess I will now do the Alien Iso Score ...... just for giggles. 

I HAVE extracted The Mummy Isolated Score from it's DVD.  It is in AC3 file format, 5.1.  I also saved it in PCM format.  By CD standards it is lossless.

General
Complete name                            : I:\Blu-ray\The Mummy (HD-DVD Remux)\The Mummy ISO Score.ac3
Format                                   : AC-3
Format/Info                              : Audio Coding 3
File size                                : 308 MiB
Duration                                 : 1h 36mn
Overall bit rate mode                    : Constant
Overall bit rate                         : 448 Kbps

Audio
Format                                   : AC-3
Format/Info                              : Audio Coding 3
Mode extension                           : CM (complete main)
Format settings, Endianness              : Big
Duration                                 : 1h 36mn
Bit rate mode                            : Constant
Bit rate                                 : 448 Kbps
Channel(s)                               : 6 channels
Channel positions                        : Front: L C R, Side: L R, LFE
Sampling rate                            : 48.0 KHz
Bit depth                                : 16 bits
Compression mode                         : Lossy
Stream size                              : 308 MiB (100%)

dark_jedi said:

Jetrell Fo said:

Yeah, this is gonna be a tough one.  Maybe it's time to hit up another forum to see if it can be done.  I'm not sure I want to sync it, just have it as an extra .... maybe with a photo gallery of sorts.

Wish me luck .......  :)

Thanks for posting d_j .....  I'll try to keep my wits about me, LOL.

So how did you go about ripping it? I wonder if I even have the programs to even do this when I find my DVD lol, I lost a lot of old shit when I built this new powerful machine for our BD projects.

I'm working on ripping the isolated score.  Only thing that sucks is it will be in AC-3, no lossless.  Anyways, I'm researching the best way to do it and everyone on the internet says something different, LOL.

I will keep you all posted.

little-endian said:

Is there anyone (still) in possession of the theatrical DTS-track and willing to share it with me or tell me how I can get it? I'm aware that in rare cases, some are offered on eBay but it seems to be difficult to 1. get them and 2. convert them to the common 5.1 format since the LFE information is contained in the rear channels and lowpass-filtered and redirected to the subwoofers during playback in the cinema.

Now I see where your snide "I don't like to share" comment comes from in my Alien DC thread.  Impatience will not help anyone here.  Andrea is probably busy as are the rest of us.  This isn't all we do during a day.  Secondly, you could have sent a pm to myself or Andrea, maybe even DoomBot, to inquire about getting this audio.

I have the cinema DTS in Wav64 format that DoomBot sent back to me.  It isn't as simple as you make it sound because on a DTS CD each reel is a separate file that needs to be decoded and then edited to the next reel, THEN a sync is done once all those pieces are in place.

There is also information here that discusses the DTS Whitepaper on the matter and what people have done to achieve their results.

If you would like what I have for Waterworld please pm me.      

little-endian said:

I wonder how you manage it to get your hands on all those rare gizmos all the time, Jetrell Fo.

Unfortunately, if I'm not mistaken, you're not the one who is particular keen on sharing the stuff, are you?

How does the DTS track which comes with the D-VHS-Cassette differ from the Cinema-DTS-CDs (except for the apparent technical differences of course like no LFE, LFE-content hidden in the rear channels, etc.)?

Getting ones hands on a copy of this rip was easy if you know how to torrent so I'm not sure what I've done is rare.  As for sharing, I am attempting to do just that with this project but I don't indulge in pissing contests if that's what you're referring to.

As for the difference in sound, it may be just the way it's eq'd. 

Yeah, this is gonna be a tough one.  Maybe it's time to hit up another forum to see if it can be done.  I'm not sure I want to sync it, just have it as an extra .... maybe with a photo gallery of sorts.

Wish me luck .......  :)

Thanks for posting d_j .....  I'll try to keep my wits about me, LOL.

I have heard of people doing this for LD and LP.  It would be interesting to see if it can be done consistently bit perfect.

:)

Silverwook sent me his DVD copy of The Mummy as it contains a hidden Isolated Score that plays during the menus.  I want to use it as an extra for my Mummy HD-DVD Remux project.

I have the HD-DVD in a Bluray structure already but I cannot seem to figure out how to extract the score from the DVD. 

Does anyone have any experience in this that could offer some advice?

Thanks

SilverWook said:

Something with the look of the "Mother" interface would be cool.

Are you preserving the DTheater bumper? I've never seen one.

The DTheater bumper on this one is very short.  I know there is a DTheater demo one can find on youtube though.

As for the Mother Interface for a menu, yeah, that would be awesome.

Echo3 said:

Coming to bluray

http://www.thedigitalbits.com/columns/my-two-cents/070914_1300

http://www.amazon.com/dp/B00LNBQ8SI?tag=thedigitalbit-20&link_code=as3&creativeASIN=B00LNBQ8SI&creative=373489&camp=211189

 About damn time ......

http://originaltrilogy.com/forum/topic.cfm/Alien-DC-Project-Assistance-Appreciated/topic/16843/

New Thread for Alien DC.

When the film was re-release in '03 the Nostromo and much of the film was re-timed to have a blue tint. It looks this way in the DC's 35mm print (the most beautiful 35mm print I have ever seen) and  Dtheater DVHS. I don't think there is another HDTV copy of this color timing outside the DVHS.

We have the DTheater version.

I have a copy of the DTheater version which retains the color timing the movie had before the Bluray change.  I also have the cinema and DTheater DTS.  What it doesn’t have is a proper menu or artwork to make a finished project.

DoomBot was crucial in getting the cinema DTS synched as there is a DTheater bumper before the movie.  It is his project as much as it is mine.

Here are the stats from MediaInfo:

General
ID                                       : 1 (0x1)
Complete name                            : I:\Blu-ray\Alien DC\Alien Dc Dtheater.m2ts
Format                                   : BDAV
Format/Info                              : Blu-ray Video
File size                                : 22.2 GiB
Duration                                 : 1h 56mn
Overall bit rate mode                    : Variable
Overall bit rate                         : 27.3 Mbps
Maximum Overall bit rate                 : 35.5 Mbps

Video
ID                                       : 4113 (0x1011)
Menu ID                                  : 1 (0x1)
Format                                   : MPEG Video
Format version                           : Version 2
Format profile                           : Main@High
Format settings, BVOP                    : Yes
Format settings, Matrix                  : Custom
Format settings, GOP                     : M=3, N=12
Codec ID                                 : 2
Duration                                 : 1h 56mn
Bit rate mode                            : Variable
Maximum bit rate                         : 45.0 Mbps
Width                                    : 1 920 pixels
Height                                   : 1 080 pixels
Display aspect ratio                     : 16:9
Frame rate                               : 29.970 fps
Color space                              : YUV
Chroma subsampling                       : 4:2:0
Bit depth                                : 8 bits
Scan type                                : Interlaced
Scan order                               : Top Field First
Compression mode                         : Lossy
Time code of first frame                 : 04:16:02;07
Time code source                         : Group of pictures header

Audio #1
ID                                       : 4352 (0x1100)
Menu ID                                  : 1 (0x1)
Format                                   : DTS
Format/Info                              : Digital Theater Systems
Format profile                           : MA / Core
Mode                                     : 16
Format settings, Endianness              : Big
Muxing mode                              : Stream extension
Codec ID                                 : 134
Duration                                 : 1h 56mn
Bit rate mode                            : Variable
Bit rate                                 : Unknown / 1 509 Kbps
Channel(s)                               : 6 channels
Channel positions                        : Front: L C R, Side: L R, LFE
Sampling rate                            : 48.0 KHz
Bit depth                                : 16 bits
Compression mode                         : Lossless / Lossy
Delay relative to video                  : -67ms
Language                                 : English

Audio #2
ID                                       : 4353 (0x1101)
Menu ID                                  : 1 (0x1)
Format                                   : DTS
Format/Info                              : Digital Theater Systems
Mode                                     : 16
Format settings, Endianness              : Big
Codec ID                                 : 130
Duration                                 : 1h 56mn
Bit rate mode                            : Constant
Bit rate                                 : 1 510 Kbps
Channel(s)                               : 6 channels
Channel positions                        : Front: L C R, Side: L R, LFE
Sampling rate                            : 48.0 KHz
Bit depth                                : 24 bits
Compression mode                         : Lossy
Delay relative to video                  : -67ms
Stream size                              : 1.23 GiB (6%)
Language                                 : English

Audio #3
ID                                       : 4354 (0x1102)
Menu ID                                  : 1 (0x1)
Format                                   : AC-3
Format/Info                              : Audio Coding 3
Mode extension                           : CM (complete main)
Format settings, Endianness              : Big
Codec ID                                 : 129
Duration                                 : 1h 56mn
Bit rate mode                            : Constant
Bit rate                                 : 640 Kbps
Channel(s)                               : 6 channels
Channel positions                        : Front: L C R, Side: L R, LFE
Sampling rate                            : 48.0 KHz
Bit depth                                : 16 bits
Compression mode                         : Lossy
Delay relative to video                  : -67ms
Stream size                              : 533 MiB (2%)
Language                                 : English

Is there ANY one interested in doing a menu and artwork for this?

SilverWook said:

Lucas once wanted to be the guy working outside the Hollywood system. He seems to have ended up becoming just like those he was rebelling against.

Sad but true.  I wish his younger self would come in to the future and kick his older self's ass so hard that Greedo would NEVER shoot again no matter what anyone did .

:) 

Jonno said:

Yes, though it now occurs to me that the earlier 2003 scan (used for the director's cut and quadrilogy DVDs) may have had a life in HDTV too.

In either case, the colour adjustments done for the DC largely remain in the theatrical cut (something that will hopefully be addressed in a spoRv - or similar - project at some point).

There is already a DC project that has the original color timing preserved.  Creating menu's is not my strength and I have not been able to find anyone willing to help out so it sits as an "as is" release.

Sorry to interject this here.  It should have it's own thread.

jhfagan said:

Hello all!

I haven't been on here in a while, and these threads have grown huge!

I was trying to make my way through them, but I cannot find any definitive information on access to the Dark Jedi version of the 97SE of ANH.

I don't have any knowledge about Myspleen.

Are there any working torrents out there?

Thanks!

http://originaltrilogy.com/forum/topic.cfm/Post-in-this-thread-to-request-an-invite-to-MySpleenorg-you-MUST-read-the-first-post/topic/8592/

Please refer to the info in the thread I've posted the link for.  It will help you. 

http://originaltrilogy.com/forum/topic.cfm/The-random-things-that-you-saw-today-that-made-your-life-that-little-bit-better-thread/topic/16558/

I thought the tread Ryan Mcavoy started was supposed to be the positive thread?

Congats on all who made the list for assistance.  Hat off to my friend DoomBot .... he's a great person to collaborate with.

So my version isn't good?

cain spaans said:

I watch the bonus discs from the 2006 DVD's for the most part because it is all unchanged and I don't have to buy the Laserdiscs (which are the exact same thing).

I don't entirely agree as having the LD's is a different experience from just popping in the GOUT.  I have the pre-smear 1986 Japan Special Collection and it is FAR more worthy than the GOUT or those "bonus" DVD's.

It's always interesting to see which "go to" people favor though.

:)

dvdmike said:

Jetrell Fo said:

I wonder if I should look at my Japan DTS Quadrilogy set to see if it has any different look.

 I am sure I checked, the LD is the only disc that comes close 

http://www.lddb.com/laserdisc/25883/PILF-2652/Alien-Resurrection-%281997%29

This is the one I have.

Update:

Audio for both Tomb Raider movies has been added to list.

:)

I wonder if I should look at my Japan DTS Quadrilogy set to see if it has any different look.

https://www.theasc.com/magazine/nov98/soupdujour/pg2.htm

A very cool read ....

Although mainstream audiences may not be consciously aware of the use of special processes when they watch a film in a theater, they certainly felt the effect while watching David Fincher's horrific thriller Seven (AC Oct. '95), which was photographed by Darius Khondji. A number of the film's release prints were treated with Deluxe's Color Contrast Enhancement (CCE) process to heighten the film's blacks and add a palpable texture and tonality.

Designed by vice president of technical services Beverly Wood and executive vice president of engineering Colin Mossman, CCE is one of three silver-retention processes offered at Deluxe. Shortly after the release of Seven, the laboratory introduced its Adjustable Contrast Enhancement (ACE) process, which shares many of the same features of CCE, but is also scalable, like its Technicolor cousin, ENR. "I can tell you that ENR and ACE are similar processes," Wood submits. "In fact, Alien: Resurrection [AC Nov. '97] had its dailies and answer print done by Technicolor, but the release prints were done by Deluxe because of a contractual situation with the studio. The director, Jean-Pierre Jeunet, compared our ACE check-print with his ENR answer print and was quite happy with the result. And with the recent advancements in both our chemical and mechanical technology, we were able to meet the film's large print demand on time.

"CCE, however, is something very different from ACE," she notes. "CCE is a proprietary process that produces a much higher contrast and adds more grain. When you have more silver, you have a more grainy look and blacker blacks. However, your blacks can also plug up more. With a bleach-bypass, the tones are much duller and more muted, and you have a lot less detail in the shadows. The blacks are very black, but the nuances in the gray are diminished. We do get some clients who want that look, but most of the time people say, 'I want the blacks to be black, but I still want some shadow detail.' This is why they are usually more interested in [silver-retention] processes such as CCE, ACE or ENR.

"These tools are nothing in hands of those who are not sure of what they're doing," she adds. "I've had a lot of people come in and consider using silver retention as an afterthought. They'll say, 'Take my negative and give me a CCE print because I want the look of Seven.' We will do the print for them of course, but when they say, "It doesn't look the same!' it is because the look of a film is truly a collaborative effort between the director, the cinematographer, the gaffer, the production designer and the costumer. The choices that are made in the art direction, the colors and the lighting really do make a difference. Now, I am by no means an expert on all of the things that the true experts do in order to create a certain look, but I know from working with cinematographers that it's important to shoot tests and actually go through the IP, IN and release-print stages to be sure about the look that they want."

Just as Technicolor controls their ENR process, Deluxe monitors the levels of silver retained by CCE and ACE at 1000nm. Wood notes that when Deluxe monitors the D-max reading on a normally processed 21-step wedge, the print yields an IR number between 58 and 60. "When you skip the bleach completely on a piece of print film and retain 100 percent of the silver in the film," she distinguishes, "that IR number goes up to 240 — effectively four times as much silver in the film than there should be.

"When you keep 100 percent of the silver in, the blacks look great in the dark parts of the room, but the faces now also have a lot of silver in them as well, so their contrast is all messed up. The fleshtones may look old and hard; therefore, you may say, "Can I back off on the amount silver in my print and still keep some of the normal nuances of the curve?' What this basically means is that you should try to make only the top part of the curve increase, while you keep the toe area the same. To do that, we back off from skip bleach and go to CCE. When we set up our proprietary set of events in terms of printing and processing, we end up with a D-max IR reading of 180 to 190. We now have about 75 percent silver in the print. What you will then see on the screen is that you now have some nice desaturation in the color; there's still a little bit of grittiness and grain to it, but you'll have more detail in the blacks than if you just skipped the bleach. For a movie like Seven, where the lighting was predominately on the upper part of the curve because the whole movie was so dark, going with CCE was one of the reasons that film looked so good.

"[Director] John Frankenheimer fell in love with the CCE process with the few prints we did for him on George Wallace," she adds. "Now, he just released Ronin with a select number of CCE show prints, while the majority of the release had normal prints. But since Robert Fraisse [AFC] did a fantastic job on the photography, providing a solid, rich negative, you may not notice the difference unless you distinctly know the look of CCE and compare the two types of prints side by side."

Finally, in the hierarchy of silver-retention techniques available at Deluxe, the lab offers its ACE process. "When we're presented with films like Alien: Resurrection or The X-Files — where the filmmakers want deep blacks, but still want the colors to look true and have a good level of chroma and texture in the mid-scale regions — we'll back off from CCE and give them ACE," Wood explains. "With ACE, we can give them 30, 40 or 60 percent, or whatever level they want. We can make those specific nuances by making chemical changes in the process. We did about 3,000 prints for both Alien: Resurrection and The X-Files, and both were released with about a 50 percent level of ACE."