NeverarGreat

It looks really good!

The hue shift is definitely a part of what must be done for this version. I did a similar hue shift in my LUT way back when the grindhouse was first released:

http://screenshotcomparison.com/comparison/154445/picture:0

http://screenshotcomparison.com/comparison/154447/picture:0

I believe this is the correct link:
https://mega.nz/#!fFlhDYBA!hRF4lpAM6wpP984TMlx61RdFKXxL1wn-COz3X8rqrkA

If I were to do it again, it would probably have a saturation increase like yours, though most video players can handle that without a LUT.

You mean like this https://www.youtube.com/watch?v=sClBNY1EISU ?

JEDIT: I think there’s a non-zero chance that they used the binary sunset from Harmy’s Despecialized edition.

Now I want a version of the film that shows every moment of R2’s agonizing descent into the docking bay, only to roll up to the Falcon and see that the ramp has been replaced with…another staircase.

Sometimes when somebody describes something an image leaps fully formed into my mind. Like this time.

Thanks for that.

It sure would be nice to have preservations of these in 35mm. I’m making the prediction now that when Adywan gets to reworking the prequels, they will be based on film scans, not the Blu-rays.

Arrival - Excellent movie. I would urge everyone who can to go see it, since not only is it a very intelligent sci-fi concept expertly executed, but recent political events have given it a rather unavoidable new meaning.

I wasn’t trying to start any drama, I just wanted to clarify if this was a new scan or not. It’s sometimes difficult to determine what sources are new or not, with so many floating around here. And that’s exciting! It feels like a renaissance of Star Wars around here recently, with things happening so fast it can make your head spin.

Williarob said:

Two new videos were posted in the last 24 hours, one on some of the new techniques we’re using to clean the film:

and another about the 35mm sources:

Anyone who was wondering, but are they using THAT Technicolor scan will be pleased to see that we actually have a BETTER technicolor print to play with than the one we were experimenting with earlier in the year…

Excellent news! I wonder about this Tech print though, since Mike said he had 2 Tech scans, one in rough shape and one that was quite clean. Are we sure that this isn’t the same as the clean one that he is using? The only print I know of that is in better shape than that is the one used at the Senator theater screening.

Also, perhaps the ending music on your videos a tad loud? It’s kind of startling.

I’m confused about that last photo. It’s obviously hyperspace, but it looks like it’s being projected and then filmed. I guess this is to more accurately capture the light effects on the subject, which presumably is behind that plastic barrier. Interesting in any case.

I’ve noticed some other problems with the SSE in terms of this, such as the sparks around R2’s restraining bolt when it is attached. Automated cleanup does not like lasers or sparks.

The more you look at these Blu-rays, the more terrible things you find.

The colors of the '97 SE are problematic, tending too green in many cases or pink in the case of Mos Eisley, so they would really need to take a long look at that for any restoration.

Even if these are the 2011 digital versions, there may be increased detail in the shadows like in the 2004 Broadcast.

V for Vendetta is still a great movie.

We’re through the looking glass, people.

http://screenshotcomparison.com/comparison/189787

The first comparison is between the HD broadcast colors and my settings. As you can see, the blue is still very prominent.

The second comparison is between the corrected Blu-ray and a combination of Blu-ray and HD Broadcast shadow detail. I noticed that the shadows of the Blu-ray, especially in this scene, were quite pixelated and the Broadcast seems to have a similar level of detail without pixelization, so I am going to use this combination for the scene, and perhaps others. The door is now a very grayish blue.

We actually never see R2 enter the pod though - when he opens the door, he is actually going through an entry tunnel of some kind made of a reflective material. R2 stops next to a door bathed in blue light at the end of the tunnel, but in several shots the blue light is gone and it’s just reflecting the brownish gray of the surrounding set.
Since Image Shack is down for now:
Escape Pod Colors
You can clearly see the end of the access tunnel when the pod ejects from the ship. Granted, there are no visible doors on the side of the pod, but nothing about the pod makes sense as there is also no window looking back on the Star Destroyer. The people in charge of making sense of these things apparently also gave up and put the window on the side of the pod:

And the prop used in the desert doesn’t look like the model:

Too bad it’s in black and white, but the interior of the pod appears gray in all of the releases, it’s just the door that is blue.
In short, there’s no evidence one way or another as to what the pod door looks like except what is seen in the desert.

JEDIT: @Towne: That’s a good point. I’m going to see how the blue door looks with my final grading.

The circle is now complete: when we started our projects we were trying to match the Blu-ray to 35mm sources, now we’re matching 35mm sources to the Blu-ray.

That still begs the question though, of how they managed to make C-3PO’s highlights look green. It looks like even your program can’t make them look that crappy.

Thine criticism wounds me mightily! Prithee, cast no evil aspersions on the SE, for long it has weathered the slings and arrows of outrageous backlash, and yet the original is safe in the keeping of not a few among us.

But yes, I updated the first post a few days ago before finalizing the scene and yesterday when I finalized the scene I remembered that it isn’t in the goal of the project to despecialize the film, but only to make a ‘best of’ the 2004 and 2011 versions with an eye to continuity and fixing mistakes. The blue doors were clearly a mistake long overdue of a fix.

😃

It’s up to those those in charge of the prints, but it certainly makes sense for the despecialized parts to be cleaned first. The last large sections of the blu-ray for me to finalize are the last half of reel 1 and most of reel 2. After that it’s just small pieces involving lightsaber replacements. I would be surprised if this took me long after the end of 2016.

Maybe someone working on the site decided that the Blu-ray was too crappy looking to show, so they did some adjustments on the sly. Perhaps Lucas himself didn’t realize just how bad it looked on the disc so for the online segments they applied a LUT to make it better. Who knows, Lucasfilm is anything but consistent in their decision making.

Are we looking at the same thing? I took a screenshot of one of the videos in question and compared it to the blu-ray:
http://screenshotcomparison.com/comparison/189547
It only required a small color adjustment to closely approximate the Blu-ray, and the cropping/warping is identical. The Blu-ray also has more detail, probably because it isn’t compressed for the internet.

It’s the Blu-ray with a small paint job.

@towne: Check your PMs

😃

Perhaps that extraneous shot could be replaced by a quick glimpse of the engines shifting into reverse. Best of both worlds.