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Jonno

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Join date
3-Feb-2006
Last activity
25-Jun-2025
Posts
868

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Post
#761983
Topic
Converting DTS HD-Audio for use in Premiere Pro CC
Time

DTS isn't directly supported for editing by Premiere, so you'll get that error every time you try to import it (including container files like *.ts if the audio data format is still DTS).

Assuming there isn't a problem inherent in the stream you're converting, you might get better results with either eac3to or (if you prefer a friendly GUI) TFM Audio Tool. Either of these should give you a properly converted WAV file.

Post
#760970
Topic
How do I cut a section of an AC3 audio file without re-encoding?
Time

Hi Neon. The Womble editors can do this - I used Video Wizard to recut the Terminator 2 'CDS' mix from the Artisan DVD, which didn't have a terrific bitrate to begin with so I wanted to preserve the original data at the very least. I did something like 30 edits overall to sync with the video, and the AC-3 file was then just rebuilt with the alterations.

Have a look to see if there's a trial version or something: http://www.womble.com/index.html

Post
#759623
Topic
The Audio Preservation Thread
Time

TServo2049 said:

Do you mean the Signature Collection LD, not DVD? I thought the Signature Collection LD PCM for The Thing was already preserved, bit-perfect, for the spoRv project? It's listed on the first post. I feel like if it had the music replaced, it would have been brought up during the making of spoRv, but I guess it wouldn't hurt to check.

 All the information you need on The Thing is here: http://originaltrilogy.com/forum/topic.cfm/The-Thing-1982-sound-mixes/topic/15709/

Short answer: While the earlier 1990 laserdisc suffered from the altered soundtrack, the 1998 signature edition restores the correct original mix. It is this version which I synced for the spoRv project.

As for the mono on Jaws, I only have the 1992 disc to refer to; while the music substitution is regrettable, the "bitch" is loud and clear! Hopefully someone can source the signature mix for a (presumably) ideal track...

Post
#753525
Topic
The Audio Preservation Thread
Time

NeonBible said:

Jonno said:

Predator is up next...

 Hey Jonno, did you ever sync this one?

 Hi Neon. It's still a work in progress - I've found it particularly difficult for some reason, perhaps due to its hazy and ambient sound (reference points being harder to find as a consequence).

I'm also in the middle of a house move so I may not have a chance to get back to it for a few weeks, but I'll post an update when there's news!

Post
#753347
Topic
Idea: Recreating the full theatrical experience with previews, etc.
Time

A neat way indeed! I started tinkering with this kind of thing a couple of years ago (there are some other threads on the subject kicking around somewhere). Here in the UK it's fairly straighforward to work out the types of materials to use, and even if it isn't 100% authentic, it's more important to create the right sort of mood.

This is one I did for Star Wars a couple of years ago: https://vimeo.com/77330966

I've since improved just about every aspect of that edit (including recutting the trailers from DVD/BD sources), but it gives you an idea of the stuff I worked in.

A US version would be an intriguing side project. The Filmack drive-in ads are fairly easy to come by in decent quality - I'm not so sure of in-theater ads and logos. Perhaps someone who remembers their original viewings can weigh in.

Post
#742911
Topic
Team Negative1 - The Empire Strikes Back 1980 - 35mm Theatrical Version (Released)
Time

77FN said:

Chewtobacca said:

Jonno said: Is there a quick route to BD-friendly video without re-encoding?

 No.

 

I own an oppo bdp-83 which I believe is compatible with several color spaces. Can I therefore still burn this with the usual bluray folders, or will this not work?

 I think the issue is that, while decent BD players support a range of colorspace outputs, the BD video spec is only ever 4:2:0. Still it may be worth passing the file through tsMuxer to see if you can get away with structuring it that way, and see what your player makes of it.
And as for watching something like this on a PC (as distinct from HTPC), I can't imagine that would be a very pleasurable experience - don't folks like to get immersed in movies any more?

Post
#742817
Topic
Team Negative1 - The Empire Strikes Back 1980 - 35mm Theatrical Version (Released)
Time

This transfer is simply extraordinary, so many thanks for giving us the preview - colour tweaks aside, it's hard to imagine the film looking much better than this! (The extras package is a lovely addition too - any idea of the vintage of the 'Season's Greetings' snipe?)

So I - and I daresay others - would like to burn this to a video BD, but I'm not familiar with the restrictions of 4:2:2 colorspace. Is there a quick route to BD-friendly video without re-encoding?

Post
#729922
Topic
Blade Runner Color Regrade (Released)
Time

dvdmike said:

Of Blade Runner there were only blow ups, no 70mm prints.

It seems important to you that those terms are mutually exclusive. They aren't. For the record, I am well aware that Blade Runner was shot on 35mm. Nonetheless, the 'workprint' accidentally screened in 1990 (as part of a 70mm film festival, no less) was indeed a. 70mm. Print.

And the work print is a direct scan of a film print and will be better looking than the LD due to the colour space

Countless preservation efforts on these forums have demonstrated that that is far from the case.

Post
#729915
Topic
Blade Runner Color Regrade (Released)
Time

dvdmike said:

The is no such thing as a 70mm print

 Huh? Oh, you mean... huh?

Anyway, given PDB's (commendable) preference for an authentic theatrical recreation, I would say that the Criterion laser is the closest we have to a reliable reference (subject to the occasional pinch of salt, as in the case of Alien).

If there's any problem getting hold of a copy, I have a gap in my busy capture schedule; I only have the CLV version, but as far as I'm aware that shouldn't affect colour rendition.

Post
#729910
Topic
Blade Runner Color Regrade (Released)
Time

It was a 70mm print intended for sneak previews and, because the edit hadn't been locked at that point, it would inevitably not have reached the stage of final colour grading.

The same workprint is included as a bonus in the BD set for nostalgia/completion/research purposes, either from the same 70mm print(s) that were accidentally screened in 1990 or from a 35mm reduction. It seems highly unlikely that this unfinished version would have been completely retimed to a 'final' colour scheme for the BD while the actual theatrical version included was demonstrably not.

Post
#729893
Topic
Blade Runner Color Regrade (Released)
Time

No... because it's a workprint.

Paul M. Sammon's notes on a screening of the WP:

Print doesn't seem properly color-corrected. Images are darker, grainier than theatrical print. Flesh-tones are off in some scenes (towards the red). Jumpy edits. Scratches. Dirt marks. Sound too high/distorted in some scenes. Image seems clipped off each side of frame - loss because of blow up/reduction?

(from Future Noir)

Post
#727178
Topic
Alien/Aliens Color Regrade (a WIP)
Time

Apologies, thxita - I didn't realise you were speaking for yourself there. I hope you see my point about that dye... there's a very long thread on RPF where folks have made their own and had trouble matching the colour when redyeing other versions (the grey variant is pretty uncommon, so many have tried to recreate it from a green or khaki jacket). The fact that the colour looks so different from shot to shot has caused some disagreements, to say the least.

Post
#727176
Topic
Alien/Aliens Color Regrade (a WIP)
Time

On the subject of the jacket, I own one of those myself:

http://originaltrilogy.com/forum/topic.cfm/Dolby-Digital-41-Surround-Alien-Anthology/post/579186/#TopicPost579186

That original dye (purple taupe) is notorious amongst Alien costume enthusiasts because it photographs so inconsistently in the film (the various light sources, filters and gels used by Scott don't help with this). So looking at screengrabs and saying, "that one looks the most like the real thing," isn't really useful; the question is which most looks like an original answer print, consistent or not.

The shuttle sequence is a very tough one to judge. I looked at the book stills for this scene, and wondered why the shots are so wildly varied in lighting; I only remembered when I checked the video versions that the scene is strobing from orange to white/blue throughout.

In short, and perhaps inevitably, the 1979 stills look just like the 1995 laserdisc. It's a very stylised sequence, with Ripley illuminated by the aggressive warning lights on her console; neutralising the colours just works against the intent of the scene. And doing so without consistency is just plain sloppy.