MonkeyLizard10

CatBus said:

I have no opinions on prequel audio.

I haven’t compared them yet really.
I can just say for now that a very brief comparison near the start of AOTC made the Cinema DTS seem to have a bit fuller spatial surround pan when the ship was landing at the start and it is also known in general that it does have a couple dialogue changes (one quick phrase replacement from Padme and the post-Tusken scene is different length between 35mm and home) and maybe felt a bit more impressive (although it does have lossy compression). The home versions probably all got some form of near-field remixing.

JRSSCPRKFAN said:

The problem with most new 35/16mm copies are that you have to pay to watch them. This one will be available freely to anybody who can access Youtube. It also will not take as long, because there’s no hassle of scanning the original prints. This copy will also cost nothing to create. You can get 5 minute scenes on YouTube for free and then just replace the changed shots with an original print. I’m almost finished with the scene on the Tantive IV.

PS. HD=720p

HD also = 1080 or even 2K

I don’t see how you can upload it to Youtube, it would get copyright strike right away.

fallinlight said:

Hope everyone is well. Glad to see the project progressing well.

I found what looks like your project/ the same one on another forum, MonkeyLizard10 and am confused. Is it the same project?

Thanks.
It is also on Discord and the FR website too. I’m guessing you just also saw the same project as here on FR.
There is also a different project that has nothing to do with mine here and on Discord (maybe elsewhere?) as well though.

TylerDurden389 said:

Funny how the Terminator’s origins is about the dangers of A.I. and now Cameron’s movies are being fuddled with even further specifically because of it, lol. Fans have been waiting for these 2 films to be put out on blu-ray for years and now I bet they’re wishing they were released sooner even more now, since the A.I technology didn’t exist 10 years ago or even 5 years ago lol.

While I could be wrong, I could swear the Dolby Cinema 4k theatrical re-release of Titanic around 5 years ago looked a bit more natural than the most recent Dolby Cinema 4k theatrical re-release (the new has the faces sometimes with a slightly weird unanncy effect, crazy detailed and yet something a little odd feeling in some way). I do wonder if maybe they had put that initial DC 4k on the UHD it might have been even better, similar but just withouth the bits of uncanny valley effect creeping in here and there. (Back to The Abyss, although in many ways it won’t match the UHD since it is just a release print (much lower res, etc.) and has none of the special edition scenes and the UHD for this one seems like it might end up near the best of the bunch, I’ll probably try to do a Scanstation level 35mm scan of what I have of the theatrical edition (also missing a reel plus so a something over 20 minutes missing) perhaps middle to later next year or so, but at least much of the theatrical edition would then have a 35mm look as a preservation in addition to the UHD.)

Turisu said:

I’d like to donate to this if donations are still being accepted.

Yes, just sent PM.

Current funding level: $1000 = 80% funded

RC_2543 said:

I’d like to donate

Thanks so much! Just responded to your PM. Had been busy and hadn’t gotten to log in for a couple weeks or so.

stwd4nder2 said:

MJBenito said:

All Jim Cameron’s movies are getting 4K releases over the next months, including A L I E N S and True Lies… And extended cuts of Avatar https://thedigitalbits.com/columns/my-two-cents/111523-0659

Only a month ago I would of expected that link to be Rick Roll or something

yeah
cool news, can’t wait to get all those discs!
on a side note, there will likely be a 4k scan of most of the theatrical edition of The Abyss going next year (print has a missing section)

Current funding level: $948 = 76% funded
been super busy but getting nearer to the stage where the slow rendering out of tens of thousands of final frames can begin

Sorry for the lack of recent updates. Hopefully have an update within a month.

Oh you mean like how those kids back in the 80s re-made Indiana Jones and that sort of thing?
That would be cool. Although in this case it might be funny to have the actors change every few scenes (although I have more recently seen something done alone these lines too).
I wonder if the first film might not be a better bet than this one for that sort of thing though.

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.

JadedSkywalker said:

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.

EPho3nix said:

ben_uk said:

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

ben_uk said:

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!

rwzmjl said:

MonkeyLizard10 said:

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.

JadedSkywalker said:

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.