Really? Do you know which group released them?
Good news 😃. Did you ever figure out the issue with the 24fps frame rate?
Dr No seems too dark and contrasty. This ones a total fail as its obliterated the day for night scenes when they arrive at Crab Key and battle the “dragon”.
I just checked this out and, as far as I can tell, this scene looks the same as the BD. The day-for-night scene when they encounter the dragon is dark as it should be. Where exactly is the effect missing?
I guess trained eyes can be both a blessing and a curse. No matter how many times I look at it, the upscale looks better to me than the original. But I accept that in motion could be a different story.
I think a project like this potentially has value for AOTC and ROTS since any official UHD release can only be an upscale that is likely to be either lazily done or outright botched.
Attack of the Clones upscale: http://screenshotcomparison.com/comparison/130317
This is even worse, as it takes around four minutes (!) for each frame!
Holy crap, that’s an upscale?! 😮
Where is the extra detail coming from like in the embroidered patterns on Padme’s robe?
My little boy was born 2.5 years ago and I’ve since barely had the time to watch Star Wars much less colour-correct it shot-by-shot. So my hat’s off to you if you’re able to continue this project but priorities are priorities and I wish you the best of everything whatever happens.
You need to properly calibrate your story book.
I suspect this guy just likes making lists. My wife is the same.
Didn’t Mike Verta say that the Tantive walls were very white but with a hint of mint? The photo makes them appear very yellow.
I’d be more curious to know if the LD track sounds better than the 4.0 included on the BD.
I’m very interested in a 35mm restoration of Superman. I’m not in the least bit interested in who insinuated what to whom. So in an effort to get things back on track I’ll point out that, in terms of compression, the theatrical BD looks pretty horrendous itself:
The UHD looks like a massive improvement.
I’ll also re-state my question about the suit: Do we have any evidence that it was as deep a blue as it is in this 35mm edition? I understand that this is the colour that Superman’s suit is ‘supposed’ to be but everything I’ve seen previously suggests that the suit they used for the movie was more of a turquoise colour.
Was the suit really that deep a blue in the 35mm prints? If so, then that’s completely different to any home release I’ve seen and also to pictures of the costume on display all of which show it as being at least slightly teal.
The cantina is supposed to be a dark and dingy dive so the darker look definitely makes sense. Dre, I love your colours but your correction perhaps makes it look a little too bright and cheerful. 😃
I’m also disappointed that there won’t be a 4K version of this. I can clearly see a difference in fine grain at 4K compared to 1080p. That being said I like the look of the colours and look forward to checking this out.
I always thought that moon was supposed to be blue as, when the camera pans down from the crawl, it momentarily looks like our earth and moon. Then suddenly the massive world of Tatooine rises into shot and we realise that we really are in another galaxy. Very effective if that was the original intent. 😃
I can confirm that the stage light and potted plant that are visible during the T-Rex attack are present on the UHD. These were digitally removed in the 3D release.
That’s the only alteration that I’m aware of (apart from some horrendous clone-stamping of grass and bushes). If there are any other changes you’d like me to check, just let me know.
…except that I very much liked the girl I went to see it with.
I’m guessing you never saw her again. 😄
Yes, it goes quiet here from time to time 😃
Sometimes a month or two can go by without an update, I try to only update if something worthwhile is happening.
My personal life can get a bit chaotic, I have ongoing health issues (which is a bit of an understatement) , I have 4 kids ranging from 5-17 years old, and the 12 year old is permanently at a cognitive age of around 18-24 months old, so free time is challenging, as is earning a living, as I am the primary carer for the kids.
Currently, I’m out of time and money, I have some paid restoration work this month that is eating around 16 hours a day, which is good to pay the rent, unfortunately restoration doesn’t pay very well, even at the commercial level, and the work is gruelling.
The last month or so has been particularly busy.
I’m recovering from a mild heart attack, and this month has seen the youngest need a tonsillectomy and adenoids removed, and the hospital is a 3 hour drive away, so it meant extra nights away, and the recovery was rougher than I’d hoped. I also do casual work to make ends meet, and I’ve had to take a few shift the last two months to feed the beasts.
My eldest is sitting her HSC exams this year (similar to the SATs or GCSE A-Levels) so a lot of the remaining spare time is spent helping her study and with assignments and essays, and the youngest needs stories at bedtime and isn’t at school until next year, so parenting takes up any non-working waking hours.
My 12 year old is fully-grown, so is the size of a fully grown woman, but has the temperament and abilities of a toddler aged 2 years or less in some areas. This is immensely challenging and time consuming, and creates a lot of safety issues for the 5 year old as you can imagine. When a ‘grown-up’ has a tantrum and lashes out if you take a toy off her, the results can be literally deadly to a small child, so managing them all can be, well, interesting to say the least.
She needs help toileting, bathing, with stairs, getting in and out of cars, pretty much everything you have to do for an 18 month old, and it will be that way forever sadly.
So my work on restoring films here comes in fits and starts. There are times when I am out of paid work, and can throw a reasonable amount of time and energy into it. Sometimes I get some better paid work and can sink some more funds into getting prints, getting them cleaned and scanned, so that stuff tends to happen in chunks as well.
Lately, equipment has been a real PITA. High end scanners are temperamental beasts, and the main unit had a focus motor problem, which took a while to get fixed, then the focus motor blew completely, which required the whole optical assembly to be removed and sent away. This creates a backlog on the commercial jobs and pushes the stuff here back a bit until the backlog is cleared.
Then sometimes the scanner unit is available, but physical exhaustion kicks in and you just can’t drag yourself to do it that night. (it all happens from midnight till dawn typically).
Cleaning a reel costs around US$200, and freight is annoyingly expensive as well, purchasing or renting the prints is also costly, and you always take a bit of a punt as to what condition the film will be in.
Scanning a reel at triple flash, with infrared at 4K full frame takes about 12 hours per 20 minute reel, and is around 4TB per reel, (and another 4TB to back it up) so it is a big undertaking of time and resources, and then sometimes the film will unspool due to a dodgy splice, or some crap will get in the gate and you have to rescan, or the scanner will just decide to be a recalcitrant old fart and not co-operate, and you have to wait for another night to scan that reel.
The restoration work once the scan is done then takes a huge amount of time and resources, just moving the files around can take ages. I’m currently waiting 12 hours for a file transfer to finish - backup two reels from my server to another hard drive so that I can clear enough space to load up the next scanned reel to start work on it.
So that is a long way around of saying that best laid plans sometimes go a bit off track, and that sometimes life and money get in the way, and things go quiet for a while.
At the moment, I am waiting on scanner access again to get the ANH SE scan finished, and I have five reels of a commercial restoration due in 3 weeks, and I’m going to be struggling to meet that deadline, but it will pay the rent, so I am working mostly on that. In the background I am transferring files around to make enough space so that I can get back to ESB as soon as that job is out the door.
Don’t expect to see much from me until May is done, then hopefully ANH might be scanned and I’ll have some time to get some progress on the original ESB.
Commendable and truly inspiring. Much love and best wishes to your family and especially your daughter.
I understand and if that’s your final word then I’m more than happy with things as they are and thank you once again for this project. I know you have other projects and only so much time to work on them.
Can I ask however if you would consider sharing your FCP project so that I might take a look into the issue myself?
Ok. I can confirm that the UK BD framerate is 23.976fps. So if you ensure that your project is set to that framerate and you export at that framerate then there shouldn’t be any playback issues.
I see. That’s odd. I’m not at home right now so I can’t confirm the framerate of the BD but I’m sure that (as with the vast majority of BDs) it will be either 24fps or 23.976fps. Perhaps, if it’s the latter, that maybe why you’re getting some choppiness encoding at 24fps?
There is certainly a problem somewhere as having your project framerate set to the same framerate as the source should not cause choppiness. I wish I understood FCP better to be able to identify where the problem might be. I’ll check the BD framerate tomorrow and report back.
Thanks so much for this Mango and glad I could help. V2 is looking and sounding great.
If I may make an observation; as with V1, it’s still running at 60fps as opposed to the source (theatrical) framerate of 24fps meaning that the encoder has altered the source by adding duplicate frames. I can’t see any reason why this would be done deliberately so I’m guessing it’s an error in the encoding settings. Would it be a simple matter to re-encode with the original source framerate?
No problem, Mango. As soon as the disc arrives I’ll drop you a PM. So glad to hear. The UK BD video is exactly the same master as the US BD except for the higher bitrate and restored fade so it should just be a case of dropping the new source into your existing project.
Could I possibly make two further suggestions for the new version? Firstly, the current MOV is encoded to run at 60fps rather than the source 23.976fps. I assume that this is just an error. Secondly, would you consider encoding at a much higher bitrate? TTCM is extremely grainy and if you look at the caps (https://www.caps-a-holic.com/c.php?go=1&a=0&d1=4769&d2=5083&s1=44383&s2=47376&i=0&l=0) you’ll see that even the US BD’s bitrate is unable to retain the grain without artefacts whereas the UK BD’s higher bitrate does far better. It would be a shame to lose this.
A thousand thanks. 😃
I’ve since learned that the 4K UHD has issues with macroblocking in fast moving scenes. Hence I’m putting forward (and offering) the UK 40th anniversary BD as the best available source.
Ok. In the spirit of putting my money where my mouth is, I just purchased the UK BD. This contains a higher bitrate transfer of the movie with none of the compression artefacts of the US disc, the restored boot shot and the original mono audio.
If you’re interested, I will gladly rip the disc when I receive it and upload the source files for you to use. Alternatively I’d be equally happy to donate the disc to your project if you would prefer.
If however you’re not interested in working on this any further then would you consider kindly sharing the project files that I could use to apply your excellent regrade to the UK source?
As I’ve stated in every post, I’m truly grateful for your work on this project and it has me really excited for what this can become. I’d like to help in any way that I can. Thanks again.