RU.08

The English release has the subtitles instead of the burned in text for "The machines rose from the ashes of the nuclear fire ..." as noted here. It is missing the original mono soundtrack, and only has the 5.1 remix. It's a physically different transfer to the one used on the USA/Canada MGM release being that it is a PAL transfer and the US/CA one is a NTSC transfer.

This is the DVD he means (or a localised version of it):

http://www.amazon.co.uk/Terminator-Special-DVD-Arnold-Schwarzenegger/dp/B000056IFJ/ref=sr_1_7?s=dvd&ie=UTF8&qid=1438429181&sr=1-7&keywords=terminator

"Special Edition" with the silver coloured cover. Dirt cheap to get a used one.

I actually thought it looked great overall in the cinema on 35mm. But that's not to say that it was the full quality of a film originally shot on 35mm, and it was a long time ago now. I didn't see the DLP, and I've never seen a DLP of that era. I saw the new Mission Impossible film the other day on DCP on a 30 foot screen and it looked great. Note that it was shot on 35mm. Skyfall also looked great, and it was shot entirely in digital at a resolution of 2880x1620 cropped to around 2880x1225 or so (2.35:1). In fact that resolution of 2880x1620 should theoretically be very similar to the resolution of 35mm film, depending of course on the quality of the film stock and how fine its grain is.

The majority of the original effects could potentially been rendered in at least HD res, however this was for a 2002 release and so possibly some scenes could have been rendered at a higher resolution than others. Toy Story 1 was originally rendered at 1536 x 922, but in 2009 it was re-rendered at a higher resolution for re-release (at least 2K), including being rendered in 3D.

The Star Wars effects are obviously much more detailed than the "plastic" Toy Story effects, but I imagine it's a similar process that's probably even more streamlined, to re-render the film at a higher output resolution. While I can only speculate, I would think that the film transfer was done at a higher res than the DLP one, however some of the shots at least were probably not at the full resolution used by the majority of the 35mm version. I guess the only way to tell for certain is to get a release print and examine it!

Yes I remember the effect where Padme rolls out of the container in the droid factory looking pretty bad (and it still does), and when the clones are fighting the Jedi in the dust cloud it looked shocking (and that shot looks improved now on DVD/HDTV/BD).

AOTC was filmed digitally but released on both DLP and 35mm projectors. Some people here suggested that the CGI was rendered at a higher resolution than 2002 DLPs could display (which is 1280x1024 with a 1.9:1 anamorphic lens). Note that the filmed elements were filmed at 1980x1080 with a 1:1 pixel aspect ratio and 3:1:1 subsampling (horizontal luma subsampling of 1440 pixels and horizontal chroma of 480 pixels). Essentially that's 1440x1080, and that was then cropped to 1440x800. But the release resolution for DLPs was 1280x1080.

No I haven't. Just an update, this coming week I will have the time to work out how to get my script to encode without running out of memory. The major problem is that there are too many different clips that get loaded all into one Avisynth file, therefore I'm pretty sure the problem will be solved by delineating the iterations into separate files - there are a couple of issues though, for one the DVD-upscale part of the script was never intended to be done in this way, so I need to rewrite it so that it only returns the required frames and then rewrite the other part of the script so instead of seeking out the required frames it trims from the returned file.

Just a quick note, I've changed my mind about the 1080p version. I will instead provide a playlist file that can be used with a rip off the Skynet BD to produce the result.

Here's the download link (2kb):

https://mega.co.nz/#!6FNEDTLQ!nFomkRz0-4QZOy74A_FCrPswKGvczAz8_TOaz3TaEXQ

Note that it is just the playlist file and you need a copy of T2 Skynet to use it.

Best of luck recovering from your operation poita, and I hope everything went really well. :)

Don’t you just wish someone would take the Theatrical Cut, reinsert in the first dream sequence and the CPU scene, and leave everything else alone?

Well I’ve done it. 720p version is on Demonoid, and here’s the download link for the playlist file if you want to generate a full quality copy (you need a copy of T2 Skynet to use the playlist).

None of this:

None of that:

Or any of this:

I wouldn't pay that page too much attention. They're not particularly forthcoming as to the real reason the Ep IV light-sabres came out the wrong colour, and you can compare the cropping directly to the Z-VCD which shows the top and bottom of a cinema projected image throughout. While it's not identical to the DVD version, it's certainly not like the bluray with the full extra 8%.

They don't have repeated footage, they're completely sequential. I believe Close Encounters has branching, Gladiator, and Apocalypse Now.

I should note that I believe that the maximum bit-rate needs to be considered when branching is involved. That is, the maximum A/V bitrate for Bluray is 48Mbps. At the point of branching both the current m2ts and the following m2ts files are loaded into memory together for 11 seconds - and even though they're sequential it would appear that the data rate for the final 11 seconds and the first 11 seconds of the following clip should add up to no more than 48Mbps. If the bitrate exceeds 48Mbps when the two parts are added together you would likely experience a non-seamless transition.

This is largely undocumented, and I'm mostly speculating, but I do believe that's how studio discs are authored - the professional authoring software like Sony Blu-print will ensure that the files get encoded to a conforming bitrate. If you want to do it manually you probably need to set the maximum video bit-rate to 20Mbps instead of 40, and ensure the audio adds up to 4Mbps or less. You may be able to join the video together - 20Mbps max 11.65 seconds + 40Mbps max (clip length - 23.3s) + 20Mbps max 11.65 seconds and so on.

Because I needed it to fit on a DVD-R.

With a file I encoded not long ago I compared the bitrates and it's only slightly "more cbr" when encoded with 2-pass. That could be due to the faster first pass settings, I certainly didn't use --slow-firstpass after all. But overall does it look like CBR? No it doesn't, it looks like a proper VBR.

No they don't have any blank space. Also, it's the same value on the Alien Anthology discs as well. And they don't have the same authoring - Alien was compressed with the Sirius Pixels AVC encoder, whereas BR and T2 are the Microsoft VC-1. If you like you could compare to the newer BR disc encoded with AVC and see what settings they use on that one.

Like a reel change ;)

Here's the BR BD, it has the same value:

As you can see in my screenshot, that number (11.65 seconds) is what was used on the T2 Skynet BD. I will have a look soon and see what value is on the BR BD. As I understand it, the next clip is pre-loaded 11.65 seconds in advance (at least I think that's what it means, but in any case it's required for seamless branching according to the topics I've read).

As for your question on audio, I don't know the exact procedure, however I assume you keep the same structure for all files - for example:

.M2TS structure:

Track 1: Video
Track 2: Audio A
Track 3: Audio B
Track 4: Audio C
Track 5: Audio D

And then flag which tracks are available to the .mpls using the .cpli, however exactly how to do that I have no idea. The only other thing I would say is that I would also assume you need your codec and encoding settings to be constant throughout. That is to say while there's nothing stopping you from going from AVC 1080p to MPEG2 480i mid-movie that kind of change would undoubtedly cause a less seamless playback, and even going from the same codec to a different profile or other changes within the encoding settings might cause a delay in playback also.

towne32 said:

Oops, looks like I added to my post right as you were responding. Thanks for clarifying, though.

And, actually, I know you're probably pretty busy, but if you were ever able to make a tutorial on this subject I would be incredibly grateful. In fact, the entire portion of the internet that's interested in the subject might be. Your replies here are the first I have ever seen, in fact, that offer a solution. Generally, on any forum or tutorial, you will see something like:

"well, you can do playlists and just deal with the 0.5-1 second delay as it switches streams"

or

"This cannot be done with free software. BDedit can likely be used to achieve this, but it is mostly undocumented. The software you would actually need is $3,000-50,000"

Should also add that the software that will not be named is incredibly difficult to use. A simpler solution would really be great. 

I haven't tried it myself. The entire procedure is detailed here and appears to be perfectly straightforward. You simply need to change the "c" tags and the in-time. Here's a screenshot of T2 Skynet Edition showing the settings on a real-world commercial disc with branching:

Yes switch the c tags to 5 (except the first file) and set the intime to 11.650 or similar.

The copyright proprietor has not licensed the program...

You can do it with BDedit on PC. Author your disc with the "non-seamless" version, and then use BDedit to set the MPLS files as seamless.

Yep, it's not complicated. Something like...

even=last
odd=eedi2().separatefields().selectodd().FrameDoubleFunction().selectodd()
interleave(even,odd).weave()

All you need is a frame interpolation function to double the framerate and return the "new" frames, I'm sure you could fine one through google. edit... you could probably use this one: http://compression.ru/video/frame_rate_conversion/index_en_msu.html

Depends on the TV brand as well. No-name brands will always look much worse than the top brands.

Well xvid didn't have crf (constant rate factor), it only had cq (constant quantizer) which is not the same. x264's 2-Pass works exactly as it should, if it didn't then CRF wouldn't work either since CRF is based off the same principal as 2-Pass - that is it keeps constant quality. CQ does not... it aims to keep the quantizers to a constant level, even when a scene doesn't need it, therefore 2-Pass will give you a better quality output at the same size as CQ-based encode.