PDB

bigrob said:

FYI the R6 DVD contains a 1536kpbs DTS-ES 6.1 (matrixed) audio mix. Could that be possibly an inclusion

so excited for this project. Might even have to fish out my BD cover I designed for Jonno's disc he sent me and forward it to your guys

 I assume that is gray market disc. Do you have a copy bigrob?

I'd love to see the cover, again I don't know if I'm doing a Blu-ray yet...

And speaking of soundtracks, Buster D was nice enough to give me the PCM 2.0 Dolby Stereo Soundtrack for the extended version of Aliens

Jonno said:

The 5.1 / 4.1 from the 1999 DVD is a weak upmix of the Dolby Digital 4.0 (see the comments I linked to in post 17). Its only real worth is to completists, I can't imagine anyone preferring it over the others.

If hairy_hen is correct, and the 4.1 from the BD is in fact the true theatrical 70mm, it's much more important to include; it's a pretty robust track if memory serves.

I'll see about getting some more reference pics from the book up later.

 Then I'll go with the BD's 4.1

Thanks looking forward to more pics. Also I noticed in the Behind The Scenes Doc that the Ash scene did have a tint while filming:

I'm wondering if that's right or if it was meant to be filtered out.

hairy_hen said:

Note that since it is an early test version, this explains why it has differences in music and dialog editing than other mixes of the film.

The 70mm mix that actually ended up being presented to the public in 1979, then, would have been a 4.1 track with identical content to the 35mm stereo version.  Such a track can be found on the official Bluray release, as 640 kbps AC3.  The surrounds are mono and the amount of bass is somewhat less than in the test version, but it is more finalized in editing and content than its predecessor.

Taking this into consideration, for the sake of authenticity I would say that any project proclaiming to be Alien in 70mm should include both the laserdisc 5.1 and the Bluray 4.1 versions, and that they should be clearly labelled for what they are.

Editing to add: Furthermore, we can also infer from this that the 4.1 track on the Bluray of Aliens really is that film's 70mm mix, as well.

 Thanks hairy_hen. Yeah I've seen Disclord's posting over at the LDDB before (he also put that info in the notes for the LD). The man knows his stuff backwards and forwards. He is the reason why I know Die Hard on LD was 70mm and the original Terminator 2 DVD was the CDS mix.

I suspect the reason Fox made note of it being a 70mm mix on the LD jacket is because it was different to all previous home video versions. Its easier to say hey this is a 70mm mix then explaining sensurround testing, etc. Like I said earlier they had used 70mm mixes on LDs before without note. The only question is why did they use it instead of the "true" 70mm mix. Frankly I don't care, its a pretty cool track. And we have access to both mixes.

There was a lengthy discussion on the the Alien soundtracks here:

http://originaltrilogy.com/forum/topic.cfm/Dolby-Digital-41-Surround-Alien-Anthology/topic/13986/

Where msycamore (is he here anymore?) was nice enough to put together the differences (he is referencing Jonno's 2.0 capture):

Personally I'm very fond of the polished 35mm but absolutely love the dynamic range, bass, clarity and some of the more subtle variations heard in this mix. I can tell you that the discrete version is not that huge of a difference from the 2.0 version, some fx are awesome with more clearly defined surrounds (the sound of the chains before Harry Dean Kitty Crap Stanton gets killed for example) but it's still a quite front heavy mix like many mixes were at the time (just the way I like it, too many films nowadays keep the surrounds too busy) 

Some of the more obvious differences in content compared to the 35mm Dolby Stereo mix (will try to make a complete documentation at some point) you'll probably notice right away in this mix if you're familiar with the 35mm:

-Jerry Goldsmith's score on the title sequence and opening is a little bit different, pay attention when we first enter the corridors of the ship, the 35mm is scored right away.

What appears to be a distant horn emanating from Nostromo when we first see the ship is absent.

-Dallas line "Good morning, Mother." is an alternate take.

-Kane's line "Roll 92 degrees port yaw." is absent.

-Lambert has an additional line of dialogue heard when they prepare to land on the planet, "900 meters and dropping." (subtitled on the 20th anniversary DVD)

-From the moment when Nostromo is approaching the planet until they enter the atmosphere, the sound editing is very rough with a few alternate cues heard. (Deep bass from the engines)

-Right before the Space Jockey scene, Kane's lines "Come on down here. Something different down here..." are absent.

-When the crew discusses Brett's death, Ash's response "Kane's son." is absent.

Also, you might have noticed something odd with this track which is noticeable right before they land on the planet, the score in particular sounds like it's played in the wrong pitch/speed for a moment. Perhaps the sound elements used was in bad shape or something? Anyway, not my doing.

I have zero idea how this is going to be released and in what form it will take, either BD or MKV. The form might dictate how many soundtracks I can shove on. The plan, which will change, is:

Pan and Scan LD PCM 2.0 Mix - Hopefully close to the original Dolby Stereo

Widescreen LD 70mm AC-3 5.1 DD Mix - The test 70m track

1999 DVD 5.1 AC-3 DD Mix - This is really a 4.1 mix (mono surrounds) so it was rumored at the time it came out to be the refined 70mm track. 

Beyond that I can add if space:

Quad DVD AC-3 5.1 DD Mix - This is the first true 5.1 track on DVD. It has stereo surrounds.

BD 4.1 - I strongly suspect this is the same track as the 1999 DVD but won't know till I pull them both to compare. If it is different I will include it over the 99.

Thanks for the input hairy_hen

PS. All this talk of 70mm tracks, makes me wish I could get a hold of the Alien 3 test 70mm track they talk about on the docs. Apparently they put a ton of infrasonic sound in the mix. They had to tone it down for the finally release.

Jonno said:

Ok, see what you think of this:

The scan colours were a little off to begin with, so I've adjusted them by eye to match the book. Look at the warmth of the 'grey' ceiling panels - very much in keeping with the LD tones.

 Very interesting. It is by no stretch a perfect match but I am shocked the skin tones (not to mention the highlights) matched as well as they do. I posted that particular pic not only because I was working on it at the time but also since Ripley has a strong red hue, almost purple. I was worried that the LD was too extreme in that instance. That pic seems to match pretty well with the skin tones on the LD.

There are two concerns that pic brings up. Like you said Jonno there is the green tint. The green pulls it back in the direction of the BD and 99 DVD so I'm not sure what I want to do with that. The second is that it is brighter then the BD or LD. Kind of more in line with the 99 DVD. I think I want to keep this regrade dark. When I adjusted for IRE changes on my capture of the LD, it matched the dark of the BD perfectly. I think Alien needs to have some dark shadows. What do you think?

I think I will abandon my regrade timed to the 99 DVD. Everyone seems to like the LD better and all of our circumstantial evidence seems to point to warmer skin tones. Hell, worse case scenario, the LD's warm timing brings out the tan colors in the set. Makes it look more "70s"

Thanks Jonno

Jonno said:

StarThoughts said:

I am pretty sure that the AC-3 track on Alien is a straight transfer of the 70mm mix and not a new mix. It was a selling point on the LD when it came out — granted, there wouldn't be split-surrounds, but the front separation (which was quite significant in this movie), discrete surround and dedicated bass channel would have made it worthwhile.

Not arguing with that - the qualities of the Alien track are well established - we're talking about the Aliens mix right now.

On that point though, I've just gone back to Alien briefly and found these comments about the mix from the old thread:

http://www.avsforum.com/forum/44-movies-concerts-music-discussion/206357-truth-about-alien-dvd-audio.html

It seems that Alien's 6-track mix did have split surrounds, and a close look at the AC-3 version would seem to bear this out (there's not a wild difference between the two rear channels, but it's there). I wonder why those lists didn't pick up on that? Anyway, Aliens is likely to be a great deal more straightforward due to its vintage (not many soundtracks were pushing the technical envelope at this point in time).

 That is right. From our Italian friend, here are the surround channels off of the LD:

StarThoughts said:

I am pretty sure that the AC-3 track on Alien is a straight transfer of the 70mm mix and not a new mix. It was a selling point on the LD when it came out — granted, there wouldn't be split-surrounds, but the front separation (which was quite significant in this movie), discrete surround and dedicated bass channel would have made it worthwhile.

Regarding your grading for Aliens: I like where you're going, but I think there is just a tad too much red right now. That said, it's amazing how much more vibrant the image can be without the cold pall on the Blu-ray… the two-shot of Hicks and Apone is a perfect example.

 Yeah it is a bit too red that's a factor of the LD. Just need to figure out how much to pull out. For reference as to what the changes are, here is that Apone/Hicks shot from various sources:

BD/LD/BD with LD Colors/DVD (Both 99 and Quad)

You can see I did pull a little red out but maybe more is needed. You can also see that the BD and DVD are very cool, compared to the LD's warm. That's why I used the LD as a source, not because I know it to be more accurate to the 35mm (none of the home releases are perfect especially the BD) but because it is an interesting alternative lost to the realm of laserdiscs (it was according to LDDB sourced from the negative...)

Jonno said:

That's a fair argument, though there's also the possibility that they might have upmixed the Dolby Stereo rather than sourcing and digitising the 6-track... I don't know what the approach was in the early days of AC-3.

I'll see what I can do about the book stills. Do you want to work up a list of problematic scenes, and I'll dig out the relevant images?

 Back in the early AC-3 LD days, Fox did pull a few of their 5.1 (or 4.1) tracks from a 70mm mixes. I know for sure Die Hard and Patton (has dialog panning) were from the 70mm mix. But we are talking about Aliens and I have zero evidence that it is from the 70mm and an upmix is just as likely. I will know more when I capture it and compare it to the DVDs and BD. I hope back then they wanted a more true to source mix then a super cool remix like today.

No rush Jonno, if you are busy. With a great source like that book it can very helpful and I can't get a copy at the moment. As Starthoughts noticed I am having problems with reds. I did a loseless AVI copy of both the Alien and Aliens LDs. There appears to be a bit of red smearing on the capture as a result of the usual Pioneer LD issues. For example here is the scene I'm in midst of regrading (not finished yet):

BD (Top)/LD (Middle)/BD with LD Colors (Bottom)

I have been pulling the red back a bit to compensate but a pic of it (Ripley refusing to let Dallas and Lambert back in the ship) would help me figure out skin tones. Hell any pic of people would help in skin tones. Also maybe Dallas in the Mother computer room, Ash's decapacitated head and Brett walking into the gold room before he is killed. Like I said no hurry, if you can't find the book, no worries

Jonno said:

PDB said:

Do you have that book Jonno? If so can you maybe send me a couple of pics from it. It looks like a good guide for this project. Especially, the problem areas. I'm not only looking for the coloring but the dark/contrast. I assume the skin tones are warm like the LD and not pale like in the DVDs and BDs?

I do have it, but I'm not sure if scanning it is a great idea - for one, I don't want to add another generation into the mix unless absolutely necessary (I can't guarantee my scanner is 100% accurate) and, to be honest, I don't want to put its 35-year-old spine through any trauma! I'm sure you'll be able to pick up your own copy for a few quid/bucks/Republic credits, just check the Amazon link for sellers (they often come up on Ebay too).

The Alien 70mm is a pretty great mix. Very bass heavy. I don't know if the AC-3 on Aliens is the 70mm mix. The Alien LD is very specific about it being the 70mm but no mention the Aliens LD. That doesn't mean that it isn't either. Old LD sometimes had the 70mm mix without indicating it, like the AC-3 LD of Die Hard. Anyone know if Aliens was split surround?

Here are a couple of lists of 70mm films with split surrounds:

http://forum.blu-ray.com/showpost.php?p=7418527&postcount=35

http://www.in70mm.com/library/process/dolby/ (where 'SS' denotes split surrounds)

Aliens doesn't appear on either list, so like Alien it would appear to have been a 4.1 mix. Since the actual content would likely have been comparable to that of the Dolby Stereo mix (staggered releases weren't such a factor this far into the 1980s), only presented in discrete channels, the laserdisc's 5.1 AC-3 is very likely to approximate it. I wonder if our Italian friend would be prepared to work his magic again?

 

 Thanks Jonno. I would hate for you to damage that book. It looks pretty cool. Maybe a camera phone pic or two? I'm just curious about the Ash and Mother scenes. 

I'm happy to hear that about Aliens not being a split surround. When I capture the 5.1 from the LD I can check the surrounds and see if they are mono. That's not a guarantee that its the 70mm mix but it does significantly increase its chances. Why do a modern remix of a movie and give it mono surrounds?

And here is some of the work I did matching the Aliens BD to the LD. Like I said at the top thread it is closer to the DVDs but a lot more saturated and with warmer skin tones. I'm going to put this aside for now and finish Alien first.

BD (Top)/ BD regraded to the LD (Bottom)

I'm kind of surprised that everyone favors the laserdisc regrade. Is it because of the skin tones?

Jonno said:

Speak of the devil and he shall appear ;-)

Funnily enough I saw yet another iteration of Alien yesterday, a DCP which appeared similar - but not the same - to the BD colouring. It was quite pleasingly balanced, though perhaps still a little cool for some tastes.

Anyway, having seen this film theatrically three times in its original version (twice on celluloid), I personally favour the laserdisc colouring as the overall truest, albeit with the occasional wobbles. Perhaps a next step would be to obtain a copy of this book if you don't already have it:

http://www.amazon.co.uk/Alien-Movie-Richard-J-Anobile/dp/0708816886

Subject to the limitations of the printed page, it gives a good flavour of what an original film print would have looked like (the short version is it's much like the laserdisc, only pushed slightly further towards green).

As far as versions go, I'm an original theatrical man all the way (for both films). It's your project of course, but that would be my suggested starting point, which could then extend to other versions.

Anyway, let me know if I can help in any way. I've no shortage of (otherwise) useless knowledge and opinion on this subject...

Thanks for the help Jonno. I have also seen an 35mm print but its been so long I can't remember the look. 

Do you have that book Jonno? If so can you maybe send me a couple of pics from it. It looks like a good guide for this project. Especially, the problem areas. I'm not only looking for the coloring but the dark/contrast. I assume the skin tones are warm like the LD and not pale like in the DVDs and BDs?

This will definitely be a theatrical cut. Besides Jetrell Fo and Doombot are working on a Director's cut preservation via the D-theater which I myself am looking forward to.

hairy_hen said:

The laserdisc colors look the best by far.  I definitely recommend using that as the primary reference, since not only is it the most pleasing to the eye, it is much closer in 'feel' to what movies back then looked like, generally speaking.  If it is the closest to the appearance of film prints, as Jonno says, then that makes a great deal of sense for why it feels right.

You shouldn't necessarily adhere to it slavishly in every detail, of course; after all, old home video masters are not known for perfect accuracy in color or contrast.  But get it looking pretty close to that and I for one will be very, very pleased.

 Thanks hairy_hen. Going to try to get as close as possible but definitely won't be slavish to it. I might just grade to both sources and maybe release both.

applesandrice said:

I for one would happily welcome the theatrical "Aliens" in its original colors! The CBS cut does sound like a nice compromise between the theatrical and the extended cuts, but for the sake of preserving the original film, I'd advocate for the theatrical. At least to begin with ... :)

 Aliens will be theatrical first. Not sure what I will do after that but theatrical first. I'll post some of those pics tomorrow.

StarThoughts said:

I agree that the laserdisc colors are the best overall for Alien, although I think you can give yourself a little latitude here and there. And I really like the idea of having the original 70mm audio track as an option, as I missed that particular laserdisc.

Regarding Aliens, I think that you should definitely start with the theatrical because I think that it would be worthwhile preservation (was the AC-3 track on that last laserdisc edition also the 70mm track?). That said, I think it would be a great idea to re-create the ABC cut.

 The Alien 70mm is a pretty great mix. Very bass heavy. I don't know if the AC-3 on Aliens is the 70mm mix. The Alien LD is very specific about it being the 70mm but no mention the Aliens LD. That doesn't mean that it isn't either. Old LDs sometimes had the 70mm mix without indicating it, like the AC-3 LD of Die Hard. Anyone know if Aliens was split surround?

Was it ABC or CBS? I can never remember. 

Cleaning up a bit, here is a comparison on the various regrades that I have done so far. First is the Blu-ray, second is the BD regraded to the '99 DVD and third is the BD regraded to the LD

BD (Top)/ BD Regraded to '99 DVD (Middle)/BD Regraded to LD (Bottom)

The LD has two scenes that are radically different in color timing then anything else. This is why why I am leaning away from it and towards the DVD. The first is the decapitated Ash scene as seen in _,,,^..^,,,_'s pics here:

http://originaltrilogy.com/forum/topic.cfm/Movies-with-wrong-color-grading-UPDATED/topic/15873/page/4/

which has a major blue tint. The other is all Mother scenes are all very yellow/gold as in this example (BD/BD with LD's colors):

Original Thread Opener:

I was wondering if anyone would be interested in a color regrade of the Alien movies. Specifically, Alien and Aliens but maybe looking into the other two later. The goal is to regrade both these movies back to early versions. I'm a novice but in the last few months my skills have improved to the point that I want to try to take on a project (in my spare time) and what better project then two of my favorite films.

Alien:

For Alien I was looking at the 1999 DVD from the Alien Legacy set and/or the 1995 widescreen laserdisc.  I have completed about 25% regrade of Alien to both the 1999 DVD and LD.  I want to run a comparison to see which plays better. The rumor was that the 1999 DVD of Alien was the closest to the original theatrical prints. It lacks the overall blue and green timing of the later D-theater's and Blu-ray's masters but does have those colors in a few spots. Beside the color changes it is also a touch brighter. The laserdisc (http://www.lddb.com/laserdisc/06718/8760-85/Alien-%281979%29) is darker then the Blu-ray and much warmer. It also lacks green timing but has several scenes with unique color timing. People don't look like bloodless vampires.

Soundtrack wise, I want to include the 1995 LD's 5.1 70mm "test Sensurround" soundtrack (graciously provided by _,,,^..^,,,_), the Dolby Stereo PCM soundtrack from the oldest LD I can find (http://www.lddb.com/laserdisc/10590/1090-80/Alien-%281979%29) and maybe the DVD's 5.1 the BD's 4.1 soundtrack, which is hopefully the refined 70mm mix.

Aliens:

For Aliens I was looking at the DVDs and/or the last widescreen laserdisc. Unlike, Alien all the pre-BD DVDs and HD version of Aliens have the same color timing, whereas Alien's color timing is different in almost every iteration. I started grading the Theatrical cut of Aliens to the last widescreen laserdisc (http://www.lddb.com/laserdisc/06719/8761-85/Aliens-%281986%29). The laserdisc looks similar to the DVDs in color tones (blues and purples and no blanket green of the BD) but with much higher saturation and unlike the DVDs warmer skin tones.

Edit: Also using 35mm pics/scans of the theatrical trailer

I'm not sure if I want to do the theatrical cut or extended cut. I have been thinking about doing a preservation of the CBS cut. The CBS cut is basically the extended cut without the Hadley's Hope scenes at the beginning. Basically, it keeps the focus totally on Ripley, keeps the important emotional points of her daughter but retains the tension of not knowing what happen on LV-426 till you get there. It is my preferred version of the film...

Soundtrack wise I have AC3 5.1 soundtrack from the LD and the Dolby Stereo PCM soundtrack from the oldest LD I can find (http://www.lddb.com/laserdisc/10644/1504-80/Aliens-%281986%29). If I do any of the longer cuts, I will need the longer cut's PCM soundtrack.

I'm not sure if the final form will be MKV or Blu-ray. Anyone interested? Branching off the discussion in the Alien/Aliens Color Regrade thread here:

http://originaltrilogy.com/forum/topic.cfm/Alien-Aliens-Color-Regrade/topic/17002/page/5/

While taking a break from grading Alien, I posed a question whether anyone was interested in a color regrade of Blade Runner. Using a 80s era laserdisc someone uploaded to the spleen. I regraded parts of Blade Runner to see the results.

Alien Project Info:

The basis of this project is to color regrade the Blu-ray (BD) to look more like the 1995 THX laserdisc (LD). While the transfer of the BR is not bad there are a lot off odd things that stick out, particularly in the colors. Overall the appearance looks like a attempt to modernize the look of the film.

There are several reasons for using the 1995 LD as the basis for a regrade. Jonno from the OT has a book of 35mm film scans from the release of the film and the closest in color home video is the 1995 THX LD. Looking at other 35mm cells they look closest to the 1995 LD. The LD has many blues where there are greens in the BD. That added green tint is similar to the green tint that gets added to all modern BDs. The LD also has fleshtones which are warm. The Nostromo looks more gray in color. The interiors have more “earth tones” colors. All of these are in keeping with a late 70’s look. The BD lacks that. Overall through a lot of circumstantial evidence points to the 1995 LD being closest in look to 1979 theatrical release print.

Video:

2010 Blu-Ray (Theatrical Cut) video color regraded to the 1995 THX laserdisc

Audio:

1. 1995 Laserdisc Dolby Digital 5.1 (This soundtrack is a rare 70mm mix that was used to test Alien in the Sensurround format before it was abandoned for conventional Dolby Stereo 70mm, it contains numerous differences with the existing soundtrack)

2. 2010 Blu-Ray (Theatrical Cut) Dolby Digital 4.1 (This soundtrack represents the original Dolby Stereo 70mm mix as heard in theaters on 70mm film)

3. 1992 Laserdisc PCM 2.0 Dolby Stereo/Surround  (This soundtrack represents the original Dolby Stereo SVA mix as heard in theaters on 35mm film)

Subtitles:

TBD (mostly all the subs on the existing BR

Pics:

BD/BD regraded to the 1995 LD

<span style=“color: #333333; font-family: Tahoma, Verdana, Arial, sans-serif;”><span style=“font-size: 14px; line-height: 13.0666675567627px;”></span></span>

Jonno said:

There are lots of variables here. First off, a mix that's been specifically designed for a 5.1 scheme and then presented in a discrete channel format (5.1 AC-3 or DTS) will inevitably be more precise than a matrixed 2.0 mix which only had four effective channels to begin with. So for most films post-1992, the 5.1 is the way to go; no argument there.

The reason these laserdisc projects are underway is chiefly one of preservation: that 5.1 DTS-HD mix on your Temple of Doom Blu-ray is not how the film's state-of-the-art (in 1984) Dolby Stereo originally sounded, whereas the 2.0 stereo on the laserdisc is a great deal closer. When these modern surround mixes are made for older films, liberties are taken in an effort to modernise the sound, with rethought dialogue/effects/music levels and often altogether new content; even in a relatively tasteful mix, like those of the Indiana Jones films, the feel is wrong.

Add to that the compression factor: laserdiscs with digital sound present their authentic stereo mixes as uncompressed PCM, whereas 'basic' Dolby Digital and DTS crunch down the audio information drastically in order to achieve manageable data rates. I won't get into the whole debate over whether this loss of information is noticeable, I will simply say that I find PCM stereo tracks to have a presence and intensity often lacking in compressed tracks.

So in summary: what you lose in channel separation you gain in integrity - not only in data, but also in authenticity. 'Immersive' is a subjective term, but where older films are concerned I trust the original sound engineers to present the mix as it was intended to be heard, and they can often surprise you with their strength.

I can't answer your question about PLII - perhaps someone else here is more an expert on decoders. However it works, it's pretty impressive; it can actually use the phase difference in a basic stereo track (e.g. music) to derive a full 5.1 spread, so a 4-channel source (which already has a dedicated centre channel) is ample for fairly convincing results. I try it out from time to time, though often end up switching back to basic Pro Logic for authenticity's sake.

 Jonno covered it perfectly in this post.

Lil Brutto said:

It's included at the end of reel 3 and immediately precedes this scene at the beginning of reel 4:

 Ah got it. Maybe it was removed from this sequence with a dissolve:

Lil Brutto said:

Time for an update...

I received additional pics from the seller and, as a result, I'm feeling much better about this transaction. More about this later in a new thread.

I found something very intriguing in the pics he sent. I can't find the this frame anywhere in the film. It's Blondie in the desert but I'm not having any luck in finding this particular frame. Maybe I'm just missing it.

Anyone??

 Intriguing indeed! It could be a missing bit. I checked all the sources I have and it doesn't seem to show up in any of them. I'm sure I would recognize the rocks/bones. If I had to guess, it appears that it occurs when Tuco and Blondie are walking on the first hill in the desert sequence:

which goes from them both being on the hill dissolving to Blondie staggering at the bottom. It is definitely not the final hill where Blondie falls down (on his back) and Tuco decides to kill him.

Glad to see you see you are still working with the seller, Lil Brutto.

jerryshadoe said:

FINALLY, this project is completed and has been released on that internalorganthatyoudontneedbutmostofusstillhave.org ;o)

Final size 38.59GB

Looking forward to comments after viewing. Enjoy people ;o)

Anyone that needs access and doesn't have it, please PM me for details...

 Going to download now, thanks for all the hard work jerryshadoe. 

Jonno said:

Predator is up next...

 Fantastic! I have it ripped myself but never got around to syncing it. I'm excited to hear it.

Jonno said:

Here's another for the list:

Movie: The Fly (1986)

Format: Laserdisc  1503-80

Input Soundtrack: PCM 2.0 Dolby Stereo Surround 44.1 khz, 16-bit, bit perfect

Output Soundtrack: PCM 2.0 Dolby Stereo Surround 44.1 khz, 16-bit
PCM 2.0 Dolby Stereo Surround 48 khz, 16-bit (BD-friendly upsample)

Synced To: 2007 Blu-ray Release Region A

Ripped/Synced by: Buster D/Jonno

Notes: Contains the original Dolby Stereo soundtrack

Big thanks to Buster D for the original rip. I've done this one in the 'modern style', i.e. edited at native 44.1KHz and upsampled to 48 for the Blu-ray version. Both available on request.

 Added, thanks guys!

Getting excited for this project!

Jonno said:

Finally finished:

Movie: James Bond 11 Moonraker

Format: Laserdisc  ML101710

Input Soundtrack: PCM 2.0 Dolby Stereo Surround 44.1 khz, 16-bit, bit perfect

Output Soundtrack: PCM 2.0 Dolby Stereo Surround 48 khz, 16-bit

Synced To: 2009 Blu-ray Release Region A

Ripped/Synced by: Jonno

Notes: Contains the original Dolby Stereo soundtrack

 Thanks Jonno. Added to the list

I preserved the Raiders and Temple laserdisc tracks and synced them to the BD. When I gave a copy to thegriff he noticed two minor things:

 Quote: "Temple does have a few changes that thegriff noticed. When Indy leaves the spike trap the chanting/music builds up; unlike the DVD/BD that has the music jump right in. Also when Willie asks what's wrong with you to Indy, she stutters on the LD soundtrack but not in the DVD/BD. I thought that was an error on my part but I went back to original copy of the widescreen LD it was there. I then went to the the pan and scan LD and it is there also. Nothing special but still interesting."

http://originaltrilogy.com/forum/topic.cfm/The-Audio-Preservation-Thread/topic/15892/page/3/

Loved your Hard Boiled work, it was amazing. Excited to see DM2 being worked on.

Buster D said:

PDB said:

Anyone have the Dolby Stereo/Surround PCM from the Aliens extended edition laserdisc? I have the theatrical cut captured but want to preserve the extended edition also.

 Yeah, I have the unsynched PCM from the Japanese CLV LD on my home PC, but I'm on vacation now. Will send it after I get back.

 Thanks Buster D. I really appreciate it.

Anyone have the Dolby Stereo/Surround PCM from the Aliens extended edition laserdisc? I have the theatrical cut captured but want to preserve the extended edition also.