MonkeyLizard10

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timdiggerm said:

MonkeyLizard10 said:

So maybe this is how it looked and then again maybe not.

This is a great summary of a lot of threads around here lol

Haha.

Although, to be clear, just in case someone reads by quickly and misinterprets something, this IS pretty much exactly what the TRAILER for the ROTJ SE did look like. Just not sure sure if the actual feature looked the same as the trailer for it. Also, I do plan to all my trailers and features look extremely close to the actual theatrical look with months of efforts tuning color calibrations to hundreds of frames across various items.

Couldn’t get the trailer done in time for the 40th anniversary of the release of ROTJ, but I can put up these sample frames from the current calibration (which should be pretty close to the final now, other than maybe for black level adjustments, which is a separate thing and will change from trailer to trailer and feature to feature). If I could see a difference between the sRGB gamut and the widegamut version then I also put up a ProPhoto widegamut version as well (whenever there is a second image of the same frame, the second one is the wide gamut version).

Happy 40th!!!

As for are these the colors that the ROTJ SE theatrical release was? I have no idea. Often trailers have different to even very different colors, brightness, tonal curve than associated feature. That said, for the SE you’d think they might have had the final color timing worked out by the time they made these trailers. But perhaps not or perhaps they didn’t bother using updated color timing or perhaps they are very sloppy with trailers and while they were given the final color timing the QC was super random perhaps. So maybe this is how it looked and then again maybe not.

Current funding: $328 of $1245

DylanDrew said:

Just now came across this and wow! I’m so excited to see this.

I’d love to donate as well!

Thanks! This one (AOTC) is already fully funded but see the sister site to this one for more info.
But I also have a Jurassic Park project (closed access to funders only as with most non-SW projects, trailers are usually open access on Youtube but higher quality, less compressed versions, wide gamut (assuming Youttube gets rid of that) mostly donor’s only links) plus tons of trailers that still needs a lot of funding as well as a small, single reel 20+ min segment of ROTS plus a bunch more SW trailers (four ROTS trailers, ROTJ SE trailer, TPM 3D trailer, original ESB unfaded trailer (German), original ESB trailer (only modest color fading), etc.) project that needs funding. I may also have a (most of, one reel, I think the second reel, missing) scan project for The Sure Thing coming after, most likely. And have TONS more trailers coming, that could also always use a lot of funding, have literally dozens upon dozens of trailers, lots of 80s and 90s in particular to get scanned. (Later on, possibly also The Bounty (1984). Maybe eventually Pretty Woman (open matte) but it has molds and would need some deal with a scanner worked out and to see if the mold removal works.)

TonyWDA said:

A friendly reminder that with any mix— Dolby Digital or analog— on the actual print itself, you’re likely getting the “far field” version of the soundtrack, with mixing choices and dynamic range better suited for listening in large auditoriums. In contrast, that same mix is typically adjusted for “near field” listening in significantly smaller environments for the film’s home video release. The former mix is prepared knowing it will play from speakers a considerable distance from the listener(s); it also considers the architectural impact of the soundtrack in that room to give the audience a full, reflected acoustic effect. The latter is more direct and sometimes may even sound more detailed— or, at least, unmarred by the aural impact of a large auditorium because you’re sitting much closer to speakers with smaller drivers in a smaller room.

Neither is necessarily better or worse than the other (not always, anyway…). Still, it’s always best to consider the differences between what’s on a print and what typically ends up on the home video release. An excellent example of everything mentioned here can be heard in Aladdin’s theatrical and home video versions. In the scene where the Cave of Wonders begins to fall apart, the differences in the intensity of the sound effects are night and day. Pay particular attention to the moment when the lamp shrine bursts into flames. Not even the LaserDisc audio, an otherwise fine track all around, sounds that aggressive. You can hear the DVD/35mm audio comparison here:

All this is to say yes, you will want to include the analog track— for posterity if nothing else. =)

true, BUT I’ve heard the whole near vs. far field mix thing is a good deal overblown and that a lot of it was pushed by a single mixing studio that apparently wanted to use the idea to prop up their finances and sort of talked all the studios into the ‘critical’ need for it. I’ve read that many say that a lot of the claims pushed to get the whole thing going, upon further examination, didn’t really pan out like they claimed and some say the whole thing caused more trouble and even worse home results in the end, although it seems there is still some arguing over who is correct.

zerocool said:

It would just be nice to have a one stop source to know what theatrical or otherwise rare sound tracks can be found if one wants to sync them to a bluray or udh bluray or even webdl in some cases. 😃

The theatrical ac3 5.1 mix for starwars episode one is on its japanese laserdisc.

The original mixes for a lot of 90s/00s can be found on Cinema DTS discs such as for example for TPM mentioned above.

I think I may have finally found a working base for the scanner machine’s calibration! And it also seems likely that the feature and trailer will now use the same WB/tint (or at worst maybe +/- 1) as the rest on the same stock. It will probably take up to ten working days to fine-tune it and verify it across tons of frames across a few trailers and bits of a couple of features. But if it all works out, finally I should have a 1.0 of the calibration ready and can start processing final 1.0 versions of everything. I hope!

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$308 of $1245

current funding: $283/$1245

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SpenceEdit said:

Anybody have a way to obtain this? It’s dead on Myspleen.

There is the 35mm scan project under way, the 35mm has no teal tint.

SpacemanDoug said:

does anyone have the full run of the FX captures?

I don’t need the SOAPnet versions because I already have those, but I am interested in the FX recordings, particularly with season 5

supposedly some alternate footage aired in that run for that season

I probably have some to all of S5 on VHS.
I don’t know offif they would be like the SOAPNet or FX or maybe neither.

ykarus1974 said:

Oh those screen captures are beautiful! I am not sure I understand… what do you mean by “properly mapped” ?

You treated the images as if they were REC709 which is a small REC709/sRGB color gamut and SDR dynamic range, but the images were stored as full REC2020 which has a wide REC2020 color gamut and HDR dynamic range. If you do that then the colors become very dull since the same coordinates in REC2020 gamut in REC709/sRGB gamut are much to close to unsaturated and not far enough out and also the black and white points are different so it looks dull and low in contrast. You need use something like MadvR and set it to playback converting to REC709.

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matswat said:

To decrypt T2 Terminator 2 Extreme Edition High definition WMV files (from T2 Extreme DVD 4756 disc 2 / barcode of dvd case 065935147565 - looks like canadian release / barcode on metal slipcover 012236140986 ) you need FreeMe2 program/application and SID key “sdhtUExMi/atMjFIxpXnFPQBdio=” or “LCqa6j9UTtiPj3FZKZ0pFnIYzaM=” (please watch out for quotes - remove quotes from commands etc.).

1. download freeme2 program/application (https://sourceforge.net/projects/freeme2/files/freeme2/FreeMe2-0.4/FreeMe2_win32-0.4.zip/download or https://altushost-swe.dl.sourceforge.net/project/freeme2/freeme2/FreeMe2-0.4/FreeMe2_win32-0.4.zip or search on the project website: https://sourceforge.net/projects/freeme2/ - date of access 2021.09),
2. extract freeme2 archive (unzip),
3. copy wmv files from dvd to freeme2 directory,
4. start command line (use keys win+r, then enter cmd),
5. change directory to freeme2 (by using cd command) i.e “cd C:\Users\Mike\Desktop\Freeme2”,
6. run freeme2 with s and filename parameters i.e “FreeMe2.exe -s T2_Part1.wmv”,
7. enter SID key " sdhtUExMi/atMjFIxpXnFPQBdio=" (or “LCqa6j9UTtiPj3FZKZ0pFnIYzaM=”) and wait for decrypted file i.e. “Freed-T2_Part1.wmv” (file should be created in freeme2 directory). Watch decrypted file in windows media player (WMP 9 or 10 should be ok).
8. repeat step 6-7 with other wmv files from T2 dvd changing filename parameter (i.e. FreeMe2.exe -s T2_Part2.wmv)

I am a fan of SF movies and I bought T2 Terminator 2 Extreme Edition specially to check that high definition version of the movie and I was sad and crushed when I discovered that they used drm protected files and because of this they take away possibility to use/watch it. I post this information for other fans of SF and movies generally.

cool thanks!

Ed Slushie said:

Every movie inevitably has shots, even whole scenes, get cut from it despite being shown in the trailers. However, aside from Rogue One, I haven’t seen anybody try to assemble a series of unused shots from a particular movie into one place. That’s why I’m creating this thread.

If anyone wants to post unused shots they found, compare & contrast alternate takes, or restore extended scenes using trailer footage, this is the place (unless a thread like this already exists, in which case please tell me so I can move there).

To kick things off, here’s a compilation of everything I’ve managed to assemble from Rise of Skywalker trailers : https://www.youtube.com/watch?v=LK69xv_ZYCA

cool

FWIW, I will relatively soonish have the following Star Wars trailers in modern, high quality 6.5K scans. All are U.S. versions. I don’t know what parts of them, if any, are unique to the trailers, but if you know…

Star Wars (teaser, flat/open matte, with a great deal of original color!)
Return Of The Jedi SE (main?, scope)
The Phantom Menace ‘A’ (teaser, scope)
The Phantom Menace ‘B’ (main, scope)
The Phantom Menace ‘D’ (3D re-release main, scope)
Attack Of The Clones “Black Eyes” ‘A’ (teaser, scope)
Attack Of The Clones “Black Eyes” ‘B’ (main, scope)
Revenge Of The Sith #1 (teaser?)
Revenge Of The Sith #2 (main?)
Revenge Of The Sith w/Hitchhikers (?)
Revenge Of The Sith “Sand Dog” w/The Incredibles (?)

Also working on AOTC feature which has some footage never released in any home or TV version.

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Papai2013 said:

Thanks for the reply.

My suggestion would be to preserve the full image and release an initial grindhouse-type version for those that want to see the entire image, edge corners included.

Possibly I could toss out a copy like that directly from Resolve, it wouldn’t have super correct colors though. I’ll see, it would take a fair amount of time to carry out since this is not ProRes based.

For others, you can do a second release with fixed 1.78:1 or 1.85:1, or as you wish.

The widescreen VHS, Laserdisc, DVD, Blu-ray and the UHD are all in 1.85:1. All of them crop out image from the top and the left and right sides, but not the bottom as much. The theatrical 35mm framing was higher and included more headroom. This was done so that the heads of the dinosaurs don’t get cropped out. In the 35mm projections, the dinosaur heads always remain inside the frame, whereas in the Blu-ray (2D and 3D) and the UHD versions, they almost always get cropped out, especially during the VFX shots. The home video editors did not pay attention to the original projected framing, nor the colours. Which is why those releases are revisionist and dull-looking.

Another thing is both the blu-rays and the UHD are pushed towards the left side, cropping the right. This creates problems in composition of the VFX shots. Those shots are centred and right-leaning in the 35mm projected image and the Widescreen Laserdisc/WS VHS, but not in the high-def releases. When the T.rex roars in the Visitor’s centre lobby after killing the raptor, she is pushed towards the extreme right in the blu-ray and the UHD. This creates the unintended side effect of leaving a large negative space on the left side, while cropping out the right edge, which if retained, would have otherwise balanced the composition.

The projected framing shows more image on the right and less on the left because the left side is covered by the soundtrack. The film gate masks the soundtrack at the left edge, which is why you see less on that side, but the right is mostly left uncropped because there is no soundtrack to cover and the aperture already masks the image to the intended widescreen shape.

The laserdisc is the most balanced framing because it includes almost the entire width of the 35mm frame and is also right-leaning, like the 35mm.

So, that should be the reference while planning a restoration.

Thanks, this stuff is very helpful! I will keep that in mind when I do the cropping.

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CatBus said:

I’ll be that guy. Because, in many ways, I AM that guy.

One thing though is that plenty of home video releases are NOT the pinnacle of image quality. Some smear DNR all over the place, some UHD have even had parts of images with less detail than the DVD releases (for all the images and parts of images with way more detail than the blu-rays, DVD, 4k projects, there are parts of frames on some Star Wars UHD that have less detail than the 4k projects or even the DVDs like where they smushed out bark texture on Endor in some frames or dropped a smoothing brush circle on some frames or how they smeared out all the very deepest shadows to have less detail than the blu-ray used to, that said plenty of other bits have way, way more detail). Many have a weird, over-processed computery look. Some still use old home masters with haloing. Many have rid the grain to the extreme and tried to force film to look like digital camera shot stuff but that often comes out weird and artificial looking, not like film at all, but not like real digitally shot stuff either (which doesn’t look waxy and strange).

I think the idea of fan restoration is still pretty edgy, and unheard of among “normal” people. When people >finally hear about it, they might think it’s some garbage-quality project, or worse, that it’s a scam and >people are passing off upscales and regrades as film scans.

The ironic thing is some commercial releases seem to be upscales themselves, and some done poorly at that, look at Footloose blu-ray, it’s has pixel blocks and jagged stairsteps and looks like a poor DVD upscale or something. And most UHD are upscales of 2K DI.

And to the point here, I mean they certainly do have the elements to make the original OT in better quality. Just like they could easily have given the prequel deleted scenes to us in HD instead of tossing crappy DVD mastered versions of them in poor quality SD at that.