Not yet but it will be.
So basically, 2048x1230, then? (BTW before Jurassic Park wowed and amazed with its effects, T2’s CGI was, indeed, rendered at 1K, specifically 1280 pixels wide, with one shot during the T-1000’s death scene being fuzzier because it was finalized at half that resolution.)
Well that’s a very different type of effect.
It was probably ~2048x1108 or it may have been anything down to ~1920x1038. The printed resolution is 2048x1556, but they don’t need to print any vertical overscan for CGI VFX. Shrek was rendered at 1828 pixels across, but that’s very different because like Toy Story it’s completely CGI so you’re printing directly to how you want it hence you don’t need to use the full horizontal area available for 2K printing (vertical and/or horizontal overscan).
IIRC the CGI was rendered at a resolution of 1280x768, or 1K @ 5:3.
No they weren’t. The CGI was rendered and printed at 2K, after which it was optically composted onto live-action shots. It’s possible that for some shots they did an optical reduction for compositing which would increase the actual resolution of the CGI beyond 2K on the master negatives.
The effects would have looked horrible at 1280x768. There’s a sweet-spot for resolution and detail when it comes to CGI VFX being integrated to live-action. You want the detail on the final print to roughly match what you get from film. They also have to be photochemically colour-timed just like regular film so that the shots integrate more seamlessly.
Depending on the complexity of the shots they took up to 12 hours per frame to render in 1991/1992. There’s about 4 minutes of VFX and it took about a year to render all up.
The CGI was printed at 1.85:1 just like any other film of the time.
Definitely excited to keep track of this project. Saw a 35mm scan of the original JP the other day and I can’t wait to try and watch it on a projector. I may be in the minority, but I also really love JP3, so knowing that someone is going to show it some love by preserving it warms my heart!
There will be a massive improvement over the old scan for JP1.
If you want to join my Discord NCFan I can make a project channel for you. And yes your scanner is on there. 😉
If the Disney classics are important to you - join my discord, simple as that.
We can get it done, won’t be cheap (like I said 5 years ago) and will take time.
We have the cinema DTS you don’t need to worry about that, I would suggest you join my Discord server and mention you’re interested in the JP project. We’ve got a sample of the scan quality there. They’re using a high-end setup for the scans.
The 4K disc release of Jurassic Park has quite a bit of DNR. Is it from a 3D conversion?
Most likely it would be.
I don’t own the full movie, I just own some cut cells I bought off eBay. Like four frames of it.
Do NOT buy cut frames from cutters. If you want moviestrips they can be made-to-order such as by this company.
It may be possible to do a professional quality scan soon, head to my Discord server if you’d be interested.
If someone is interested in contributing to this or placing a bid (ideally from a UK account) please join my Discord server we could organise something there.
Guys please stop sending me PMs about this. I don’t have a link any more and it’s not my scan. Also it’s 2022 not 2018 times have moved on. In 2018 the scan quality on this project was good. Note: good, not great. If True Lies is important to people you should look for a new print and get it scanned professionally. It can be done affordably at quality that will wipe the floor with the old scan.
I can get another print as well. Which may be required depending on the condition of the one they have. 😉
I’ve got a private channel set up now on my discord server for this, so anyone who’s interested in this project is welcome to head over there if they’d like as well. The permalink is https://valeyardfilmarchives.org/discord/
I’ve sent you a private message, I’d love to coordinate with you over the JP trilogy- if possible join my Discord server.
One unexpected issue is processing time. Each 5K frame is 5120x3840px @ 300dpi (28.1mb), with each of the four reels around 31,000 frames a piece (that’s 123,709 frames @ 3.31TB total). I’m running an i7-7700k @ 4.2gHz CPU with 16GB ram & GTX 1060 6GB GPU, and even then it takes around 26 hours encoding time per reel!
That’s largely due to I/O, make sure you’re encoding to a different hard drive/SSD compared to what you’re reading from. Also if you think that’s bad, try 6464x4852 some time!
Not about the movie Venny, the seller. “zontar2000”. His notoriety for dishonesty precedes him. Buy from that guy at your peril.
God, how that notorious asshole sold a shit print for $1.2K I will never understand.
Yeah it has to be done scene-by-scene basically to the frame line.
It’s okay, I was being diplomatic in my own way, explaining how there can be so many wildly different color corrections for the same film, without outright saying most of them are wrong. Yes, basically there’s DrDre’s color corrections and then there’s subjectively messing around with color, but that’s not really fair to the non-Dre corrections, some of which are pleasant enough to watch in spite of their wrongness.
DrDre’s colormatch tool isn’t how to do “colour correction correctly” at all - what it’s useful for is precisely matching one source to another for editing purposes.
The way that the proper colour corrections are done is the colouring room is set up to the specifications of the Director’s projection room, a reference print is supplied (they usually have one) and then the colour correction is done scene-by-scene and compared directly against projection. Getting it right is an artform in its own right because how a film looks in a darkened cinema is different to how the same film would look if projected in a brightly-lit living room. They even used to make prints specific to those kind of conditions - they’re called “Drive-in prints” and they’re designed to be projected while there’s still some amount of daylight so that drive-in venues could maximise their showtime hours. Then there’s also the fact that the audience is more forgiving in the cinema than they are at home with inconsistent colour grading - and again that largely comes down to having the lights on or off.
Empire Strikes Back which I’ve seen projected not that long ago is wildly inconsistent in the colour grading, even in the cinema it does not look the way a modern audience would expect a blockbuster to look - so of course you have to make some gentile enhancements to the grading to give it a more consistent look.
I did re-scan it, that reel has a printing error. If the original scan had been done the way that I’d asked I would have been able to see this (it was pre-cropped almost right to the frame line and resized to UHD), you can try stabilising either scan.
It’s an inexact science, starting out from a point very, very far from where the color really ought to be. It’s a miracle we even get something close.
I’m sorry CatBus but I don’t have the time, energy, or willpower to explain everything wrong with what you’ve just said. Send me a PM if you like.
What I will say about film is that I think it’s fair to say that now we can fully reproduce it digitally with all detail in the film. It took time, but the technology is advanced enough now. In fact the best Bayer equipment now rivals RGB for quality, and I mean that it gets very very close, something that no one thought was possible a few years ago.
I’d guess it’s 2010 or 2011 actually because it’s the same as the BD master. Would that make it more likely for it to be a film out?
It’s not a 2010 print, it’d have a cyan soundtrack if was printed that late.
Oh THANK YOU!!! I’d love to see the print immediately, but first, I need to know what condition is it exactly beyond just “not perfect”? Does it have any scratches, cigar marks, splices, what are we talking here? I hope it’s nothing too severe and can be taken care of, as well as what aspect ratio are we talking with this print. Because from what I’m aware of, the theatrical and Laserdisc intended aspect ratio is 1:85.1, matted from the original CAPS 1:66.1 (as seen in the 2003 DVD) and as I’ve seen from 35mm scans to Disney animated movies from the 80’s and 90’s, they seem to be open matte-ish only to have a soft matte for theaters to take care of (and some being hard mattes), I wouldn’t mind either aspect ratio although kind of ironic for what the project is for, I’d prefer if the print would be 1:66.1 uncropped for the project but that wouldn’t mean I won’t give the option for 1:85.1.
It’s 1.85:1, I don’t know if Disney printed any of them at 1.66:1 you have to be aware that the digital film-out goes to negative and it’s more expensive to print more unnecessary lines than what you need. After that it’s just generally contact-printed.
I can scan it professionally, like I said it’s not an ideal print for various reasons, although no I don’t think there’s any splices in it it has other flaws. Send me a private message or head over to my Discord server.
The current 4k version on Itunes is 1.66:1.
Sadly none of the CAPS conversions look anything like the original theatrical versions. Lion King is probably the closest since it is a brightly coloured film (with BATB being the absolute worst), but it’s still very different really.
Come join my Discord server.
The film looks very dirty - the scanner didn’t clean it first?