The one I have is the Complete Epic, it is 7h3m, yes. I wouldn’t know where to find the Trilogy version.
Do you mean one of the TV edits (Epic, Saga, Novel for Television)? If so, I have a copy of “The Complete Epic,” but if that’s not what you’re looking for, I wouldn’t know where to start except to tell you isolating the extended scenes from GPII seen in one of the TV edits would be a step toward a reconstruction.
This looks amazing! Have you considered trying Dr. Dre’s color match? I’m using it on a fan reconstruction, and it replicates it perfectly.
I believe so, there are different audio effects, mainly from the New World Library. I do think there is a stereo mix, either based off the workprint version or theatrical, not sure. Maybe if the effects were isolated? they could be separated into the channels? I know that was done for Psycho (1960).
Hey guys! Me and RedMenace are working on a Godzilla 1985 project in collaboration, and as a little side bonus, I thought it would be cool to have an option of a 5.1 Upmix of Godzilla 1985. Now, this is only a possibility, as I am not very good with audio. I don’t even know how difficult it is or if it can be done. However, it does seem extremely interesting to see if it could be done, and it would be a cool new option for Godzilla fans to be able to watch the film with. My question is, anyone who knows about audio and audio mixing, can it be done? And if so, how can it be done? Thanks!
What country is it being streamed in? It isn’t streaming in my country.
Same here. PM sent.
While RedMenace and I are waiting for certain elements and sources for our collaborative Godzilla 1985 project, I though I’d do something I’d wanted to do for a while, which is make an HD version of the international English export version of Godzilla vs. Biollante, in the same style that I did for The Return of Godzilla. This will improve upon ROG EOST in quite a few ways. For one, instead of the 720p workflow I used for ROG, I’ll be using a 1080p workflow for this film. I’ll be using Premiere Pro instead of HitFilm Pro. I’ll also be using Dr. Dre’s color matching tools to more accurately color correct the Japanese footage to the 1993 HBO LaserDisc for a good majority of the shots, especially where the Blu-Ray is too different to CC manually without artifacts. It will also be shot-by-shot CC. The main source for the masking of the Blu-Ray subtitles will be the 1993 HBO LD or a German LaserDisc rip, which has no text in it at all. Since the 1993 HBO LD is higher quality, I will be using that as much as I can, and will only use the German LD in cases where I need to make it textless so I can add my own digitally recreated titles.
To give you all an idea of what I’m doing for this project, here’s a little video I’ve made giving a walkthrough of the CC process:
Be on the lookout! expect something even better than the Return of Godzilla EOST.
It just looks like to me you only did negative film stock emulation which is just a recreation of if it was shot on film, not projected on film.
If this were an authentic 35mm print recreation, wouldn’t you also want to emulate the look of a print such as Kodak 2283, which is the most frequently used print stock today?
What I used was Magic Bullet looks for reference, as well as some grading from other films from 35mm prints. The negative stock depended on the scene, for the dark night scenes, I used Kodak Vision 3 500T negative stock, while for the outdoor scenes I used either Vision 3 250D or 50D. The print stock was all 2838, since it looked the most appealing, and I decided that if it was a film shot on celluloid, they director and/or DP could have made the choice of print stock. Some things I had to CC manually, as they wouldn’t color correct naturally to the print stock. Examples are the ending WB logo and the Legendary Pictures logo.
To reply to my last post about how we use this with our film restoration, here’s an example from a scratched and dusty Agfacolor 35mm negative from 1968 (don’t mind the color difference):
I feel like there has to be an easier way to clean a static starfield.
Since the automated dust cleanup presumably erases stars, have you considered stabilizing the shot, running the cleanup, and layering it over the original on ‘darken’? Then if you had just a single frame manually cleaned, it could be overlaid on top of that with the blending on ‘lighten’, which would return the accidentally erased stars.
True. This is actually a trick we’ve been taught at my film restoration business. We make two copies of the frame, and on one we apply an automatic dust and scratch removal, which removes some detail, but then put the dirty layer on darken and the quality is kept while only removing the dust.
We just received a preview scan of reel 2 in the wetgate process, cleaning it up immensely. Here’s a few interesting screencaps from the test scan:
An example of American-added opticals blending over hard-matted Japanese footage.
Notice the white artifacts on the right side from the subtitle printing process.
Gone with the subtitles.
If you’re interested in getting this classic Godzilla film scanned and restored in 4K for the first time in High Definition, send me or RedMenace a message, we are accepting donations for hard drives as well as software for restoration!
Hey everyone interested in this thread! I’m Servanov, RedMenace’s partner in this project! As he said, any and all donation amounts are welcome and help us to preserve this previously unseen in HD film!
Some rough comparisons, the main and obvious differences are the more film-like colors (matched to film stocks like V3 500T and V3 250D) and the grain:
Hey guys, Sergey here again! While me and RedMenace (on here as godsavepopunk) collaborate do some final prep and behind the scenes on a very, very big Godzilla project, I decided to do a little fan edit of the 2014 Godzilla film. The goal in mind: to take the Blu-Ray and accurately as possible recreate a theatrical experience one would have had if seeing a 35mm print of this movie, 80s style. Complete with gate weave, grain, color matched carefully to film stocks, dust, scratches and reel cue marks. PM me and I’ll send you a link!
How can I get a copy of this? Can’t stand the complete novel version. I keep hoping there will be a blu ray of the theatrical cut, but still nothing. The reddit/mega link is dead. dying for an HD copy of the theatrical cut. Can you help me out?
Yes, I am a bit low on Mega space, so I will upload it to Archive.org, check in about a day or so.
Even for things like dust and scratch removal? That’s what we mainly need it for. Thanks.
Hello! Me and RedMenace are currently very, very close to having 4K scans of Godzilla 1985 and another Toho monster film. We are planning on using PFCLean for the restoration for many reasons, but mainly for easy use as well as it can take the format we will be receiving the scans. We will only need to rent the program for a little while for the restoration. We were looking for the PFCLean PLE version to get used to using it. Does anyone know where we could find a copy (or if anyone has a copy themselves that they would be willing to lend us). Thanks!
Hello! I am part of a group that is working on a 4K fan restoration of a Godzilla film! I looked into things like Phoenix and PFCLean, but all of those were far too expensive for our purposes. I then looked into avisynth scripts, which seemed like a good option. However, I don’t know the first thing about coding or scripts. Harmy gave me some scripts he used, but, as I said, I’m not too knowledgeable about codes. I have avisynth installed, as well as VirtualDub, but I can’t get the avs scripts to work in VDub, or avsmpod. Unless someone knows how to get a cheaper version of Phoenix Refine, I’m in need of some help. Thanks!
Hello! We decided to get a few trailers from my own collection scanned to show you the level of quality to expect from the final restoration. He scanned the trailer for Godzilla 2000 and Godzilla vs Megalon! They’re here:
If you want to help support us for this project and see Godzilla 1985 scanned in 4K from a 35mm print! PM me or RedMenace!
Hello! To anyone reading, my name is Sergey Ivanov (aka Servanov), and I would like to also let you know that the Godzilla 1985 35mm print is, from what the print collector tells me, in pretty good condition. We will be scanning in 4K full aperture, and will have the theatrical Stereo mix included, and no DNR will be applied at all. Please consider helping me and RedMenace out for the 4K scanning and restoration of this film which has not seen an HD release before, and has only been officially released last in 1997. Any and all donations are accepted. Thank you!
Yes, this is the DVD vs the German BD. All the SD releases (VHS, DVD, etc.) used the same master from what I can gather, using the same color grading. The DVD colors are the accurate tones after looking at an eBay listing of 35mm cells from the movie, which have the DVD’s grading.
I’ve been working with Dr. Dre’s color match tools, and I’ve considered taking the Blu-Ray of Lyne’s 1997 version of Lolita and doing a more faithful color correction according to what it looked like on pretty much every version before the BD, including the theatrical prints and original TV airings, what I call the 97 Master. I’ve done a test with the first half of what would be about the length of one reel (reel one). Anyone interested? Here’s some examples. DVD, BD, BD matched:
Agreed! I work as a still photography film restorationist as a part-time job, but motion picture film sounds very interesting and a new experience!
I’ve been doing some tests using Dr. Dre’s ColorMatch tool to match faded film scans and I think if we had a scan of this movie, the color correction from fading would be the least of our problems. I think a bigger issue would be the time consuming dirt and scratch cleanup, which would either have to be manual, frame-by-frame in photoshop or similar software, or using a professional film restoration software (unless something like Vegas or After Effects has a cleanup tool) which can cost quite a bit. To give you an idea of the colors I’ve been able to get in restoration, here’s an example. In order, they are 16mm eBay screencaps, RedMenace’s DAM Recon, and the color matched version.