Assemble clips? Clips of what, from where? How does this turn into a 35mm scan?? I don’t understand what is going on here and I suspect nobody else does either thus the lack of responses.
Same here. Does anyone have the original, full length version of the Scofield recording and before it was synched or resampled to 48Hz or otherwise meddled with?
This print has been up there for months and months at this point.
I wonder what a typical price for a U.S. SE print is.
I wonder if someone ever preserved the DTS tracks for the Star Trek films.
I think for a couple of them.
funding:
$845 of $1260+ = %66ish
cool, wow, holy cow that is lot of stuff
and it’s crazy how many different TV spots they had!
SpacemanDoug said:
I never understood honestly why Fox has skewed several of its masters to the yellow spectrum but my friend theorizes it’s their attempt to recreate what an image would look like projected through a bulb.
It well could be more accurate to how it looked in theaters. So it may not be skewed at all, the blue stuff you see is what might actually have been altered and skewed.
Will you be doing things like colour correction and repairing any scratches or print damage etc?
Read his most recent wall of text.
The Great Wall Of Jurassic Park
Will you be doing things like colour correction and repairing any scratches or print damage etc?
Spent much of the last year working out color calibration for the scanner used. Color accuracy to the original 35mm projected look is one of the main goals of my feature and trailer projects. These will likely be the most color accurate scans out there. Every last thing will not be perfect due to tricky issues with the scanner output, but I bet they will be the most color accurate scans yet done all the same. A lot of scans online are not really very close to the actual 35mm colors. A few are vague ballpark and look fine from memory although directly compared lots of differences would show all over and many (I’d say most as soon as you get past the most recent scans) are just way different looking than the actual 35mm colors. (of course some scans are also from magenta/red faded prints and in those cases there often is no real reference so they are what they are and that is a different matter than the talk of scans of non-faded prints which is the topic here)
and
“Scans will be at 6.5K. Grading will be matched side by side display with selected frames from the various reels viewed under theatrical projection-like high CRI LED D56 lightbox conditions to hopefully get it to be extremely true in color tone, saturation and tonal curve to the 35mm print.”
the very thin but deep green vertical emulsion scratch on some parts of some reels will be patched over
not really messing with any cleanup to start, perhaps eventually, the frames are seeming pretty clean though and I’m not sure there is any print damage at all anywhere beyond that vertical green emulsion scratch on some parts of some reels (look at the samples, none had any cleaning/patching done to them whatsoever, they are all 100% untouched, nothing but alpha or beta color correction/trace of sharpening in some sets of images/rescaling to 2160 height/cropping the scan to the image area), but if any really nasty blobs of dust/dirt show up I might eventually patch over the worst of it or if some major print damage shows (but I’m pretty sure the print is 100% damage free through and through, again beyond that thin green emulsion scratch running down near the right side of sections of some reels)
Thanks! 120p it is!
Hopefully processing of a non-beta 1.0 version can start in around a week or so. It will still take considerable time even once that is going as each reel is like 20,000 frames and it will take my PC ages to process 20,000 DNG to intermediate stills (especially since Photoshop seems to crash out overnight after only doing like 2000 frames or so, hopefully that issue can get resolved so a much longer time each night can be spent having it render frames out.
Davinci Resolve will recognize a series of DNGs as a video file as long as the DNGs are named correctly (in series). No need for Photoshop.
Resolve doesn’t have the sorts of tools I’m using for the scanning calibration. None of it’s color tools seem to be able to fix up the colors to match since the metadata has the wrong color primary locations and such. I’m not too fond of Resolve in general either. Anyway, I need to use Adobe ACR for the calibration stuff I’ve done. It is true that After Effects can load the DNGs in directly now through ACR though and handles color-management better than my old version (which didn’t do much at all). The sharpening and rescaling in it don’t seem to be as high quality though (although better than the horrible results in my old version). For JP I also need a special thin spot healing action to get rid of the green emulsion scratch that is continuous on some parts of some reels.
Using After Effects takes ages to load in the DNGs and to render out to a video file compared to loading in say TIFFs into PremierePro and rendering out to a video file. Then again making intermediate TIFFs takes ages and ages and takes up lots of space. But then again the TIFFs then render out to video files so much faster and if I plan to make both UHD, UHD+wide gamut colors and HD versions each in both open matte type 1 and open matte type 2 and fixed 1.85:1 theatrical I feel like in the end while producing one single version might be much faster just using After Effects and DNGs directly, when making like 9 versions of the same thing it might end up faster in the end using the intermediate TIFFs and Premiere Pro. But I still need to test a few more things. PremierePro was having issues recognizing ProphotoRGB metadata in intermediate TIFFs and seeming to only like TIFFs in sRGB format (even REC709 was messing with levels, it seems like maybe PP just assumes TIFFs are sRGB and doesn’t look at TIFF metadata?; on my old version of PP it seemed to only want REC709 input files of a certain type), which would be problematic. AfterEffects was using ProphotoRGB and interpreting images stored as that properly (although for some odd reason even though I set display to wide gamut and working space to something wide, it seemed to be clipping down to REC709 secretly internally for some reason even though I don’t see why it should be, so still not working out for wide gamut production). I like the video editing timeline system of PP better than AE. Anyway, I’ll see.
The trailers are donation only as well as the feature or just the feature?
The trailers will go up on Youtube (but links to less compressed versions for most will be for donors, links to less compressed versions for the ROTJ trailer will public).
I’ll try to put up a very short little video demo once it gets going, like maybe under 2000 frames. Might even have to keep it to 30 seconds if make demo public.
Hopefully processing of a non-beta 1.0 version can start in around a week or so. It will still take considerable time even once that is going as each reel is like 20,000 frames and it will take my PC ages to process 20,000 DNG to intermediate stills (especially since Photoshop seems to crash out overnight after only doing like 2000 frames or so, hopefully that issue can get resolved so a much longer time each night can be spent having it render frames out.
Hopefully processing of a non-beta 1.0 version can start in around a week or so. It will still take considerable time even once that is going as some parts, especially reel 1, will need a lot of scene by scene tuning to bring back the full aqua/wild blue type colors by hand as well as each reel is like 20,000 frames and it will take my PC ages to process 20,000 DNG to intermediate stills (especially since Photoshop seems to crash out overnight after only doing like 2000 frames or so, hopefully that issue can get resolved so a much longer time each night can be spent having it render frames out).
Thankfully the site is back up again quickly and all messages and PMs seem to be intact.
I suppose just in case anything went bad with the site in the future, if anyone wants they could send me an email address in PM so their will be a way to contact.
I’ve heard that seller mostly sells off a collection from some Russian who has at times had prints with toxic mold and other issues, maybe others can chime in. A bit of a shame since they get some really interesting titles.
Project scanning/storage/backup cost: $1260 (actual true full cost will likely be considerably higher for this)
Current funding level: $800 = 64% funded
UPDATE: the project will now also include a scan of the main original trailer for Jurassic Park
IMO, they (the Plinkett rantings) symbolize everything that has gone wrong with Star Wars fandom and fandom and basically the entire internet in general and perhaps best just show how little he knows of the history of cinema and he gets TONS of stuff flat out objectively incorrect. They basically ended SW discussion forums as a fun place. And ended serious criticism and swapped it for cheap click-bait. Anyway I better get my bunker prepped.
That said I’m sure you’ll get plenty of takers (except it isn’t all that possible to remaster the parts where he appears, since he probably just shot on VHS, on the odd chance he shot on SVHS or Hi8 or some super early digital format, maybe something a little bit more could be done though; the scenes from the films could get swapped in with footage from blu-ray or scans, but it seems weird to me that people who so despise the films would want to waste hours beyond hours of time pasting in higher quality footage of scenes of stuff they don’t care for? does it matter if the scenes look like compressed trash if the scenes are being mocked and considered to be trash anyway?).
Project scanning/storage/backup cost: $1245 (actual true full cost will likely be considerably higher for this)
Current funding level: $751 = 60% funded
Hi, just joined this forum specifically to make a donation. Please let me know how I can help!
sent a PM
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Yeah it is always best to not post any PM without asking. Here or anywhere to do with anything.
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