It takes days to render it all out at 4K, and then it all has to be checked, corrections made and then more days to re-render it all… It’s hard to measure or predict exactly how long this phase will take.
Here are some of my 35mm Trailers:
Psycho II: https://vimeo.com/261388074
Conan The Barbarian (1982): https://vimeo.com/290366387
ET (1982): https://www.youtube.com/watch?v=Pk0l07gqkvY
ET (2002): https://vimeo.com/290369979
Fletch: https://vimeo.com/290374307
Crocodile Dundee: https://vimeo.com/290457096
The Deep: https://vimeo.com/290705572 (which, ironically seems to be water damaged!)
Superman II: https://vimeo.com/290736906
Goldeneye (4K): https://vimeo.com/251830375
Indiana Jones and the last Crusade (4K): https://www.youtube.com/watch?v=3ox0waxD5k8
Aliens: https://www.youtube.com/watch?v=dGyyw1pPrEc
Terminator 2: https://vimeo.com/282310276
Back to the Future: https://www.youtube.com/watch?v=Kg_Y28Yl-sM
The Fly (1986): https://www.youtube.com/watch?v=fG6Y1BrhO7k
Poltergeist (1982): https://www.youtube.com/watch?v=24J7B7lCEu4
Star Trek The Motion Picture: https://www.youtube.com/watch?v=CFRNP4Brs2U
Star Trek IV: https://www.youtube.com/watch?v=4PdTapNIr-k
The Goonies (4K): https://www.youtube.com/watch?v=_gSRasvYSs0
Gremlins (4K): https://www.youtube.com/watch?v=PuG_wH61_U
Commando (4K): https://www.youtube.com/watch?v=8c2Adb7v-1Q
Pale Rider: https://www.youtube.com/watch?v=8c2Adb7v-1Q
Return of the Pink Panther: https://www.youtube.com/watch?v=xnzOKHYjtrY
Revenge of the Pink Panther: https://www.youtube.com/watch?v=ARjZpMw-5hA
Trail of the Pink Panther: https://www.youtube.com/watch?v=1-4GkX3pAE
16mm Trailers/TV Spots:
Jaws: https://www.youtube.com/watch?v=msu5fT6FhHg
Star Wars: https://www.youtube.com/watch?v=gaOs7rNtY1o
Battle of Britain TV Spot 01: https://vimeo.com/293014203
Battle of Britain TV Spot 02: https://vimeo.com/293014491
Battle of Britain Raw Scan: https://vimeo.com/293011760
James Bond (Scroll down to “Related Dossiers” for the full list):
http://www.the007dossier.com/007dossier/post/2018/07/24/35mm-GoldenEye-Movie-Clips
Yes, I know of three places, 2 in the US and one in Europe.
http://forums.thestarwarstrilogy.com/swforums/index.php?threads/35mm-trailers.17/
(You probably need to register before you can access this thread).
Most of them are .MP4 or .MKV, Full HD (some are UHD) h.264, and hosted on Mega.nz
Yes, and that’s why I asked about the download links. I have shared all my trailers in HD without watermarks on my forum and a few other places, but I’m not sure that I’m allowed to post the links here. Some of my Youtube/Vimeo links are watermarked, but the idea is that you can preview them before you download them, so you know which trailer(s) you are downloading.
I have preserved a number of 35mm, 16mm and 8mm trailers, including nearly all the James Bond films, Star Wars films, Indiana Jones, Gremlins, Goonies, Jaws, Aliens, Terminator 2, Star Trek I & 4, some of the Pink Panther movies, and many more. I’ll post some links here to where you can watch them all shortly.
@Mods can I post download links to the trailers or just Youtube/Vimeo links?
the AARRSSTW page states that the shot length data “by negative1, was a documentation of the 2006 DVD (GOUT) release’s shot length.”
Does anyone know where to find the original post? would be great to find that data for ESB and ROTJ
Isn’t this it?
https://originaltrilogy.com/topic/Shot-List-Spreadsheet-v0505-6-films-publicly-editable/id/13403
Hopefully anyway!
Yeah, I’m a little fuzzy on the details too, but the point is there are some exciting spin off projects in the works that will hopefully address some of the issues introduced (or just left unfixed) in the base project files.
Perhaps the project has been renamed to acknowledge Dreamaster’s contributions to the color correction? In any case, it’s the same guy.
Williarob said:
Starting with the noDNR version, I used Neat Video to reduce the noise. A single noise profile can be used for the entire film and give you pretty good results, but for better results you will want to create a separate noise profile for each of the noisier shots: The smoke filled corridors on the Tantive, the droids in the Desert, “Look sir, Droids”, the sandcrawler coming over the Dune, the imfamous speeder scene, and just about any shot with a white/pink flash. Every single shot in those sequences had it’s own noise profile, because the level of noise varies greatly. I had initially set out to create a separate noise profile for every single shot in the film, but quickly discovered that even with an 8 GB video card and 128 GB of RAM, you run out of memory way before you run out of shots doing it that way with 4K footage.This is something that was very, very well done and I kinda expected it since as Mike Verta once pointed out, some scenes had so much noise and/or color noise in them even on the negative that there’s not much detail to dig out of them, like the speeder shot in Mos Eisley. You’ve done an amazing job on all that.
Williarob said:
Anyway, that took weeks, and when it was done it became obvious that all of that noise was hiding tons of dirt and dust that suddenly became very distracting. So I had to go through the entire film again, cleaning up the more distracting dirt and dust - and there’s still plenty left.Another impressive thing that’s been done.
Williarob said:
While I was in PFClean, I used the Color Balance effect to automatically balance every shot.This is the part that should’ve been skipped, I know it from photoshop and premiere and in 9 out of 10 situations it doesn’t do a good job. It’s most likely what created the huge inconsistency.
Williarob said:
So I’m sorry if you don’t like this version - I’m not 100% happy with it myself - but I honestly believe that using both of these versions as a starting point, I’m giving you and everyone else just about everything you could possibly need to make your own dream version of Star Wars - with the noDNR version alone you now have access to a more or less untouched, relatively clean, complete version of Star Wars in 4K to play with! It wasn’t so long ago that the best version we had was the GOUT.First of all, I’m very sorry if I bashed you too hard. I guess I looked forward to this version a little too much, and having worked on similar projects I tend to be very picky about color work. My apologies.
I’m glad that thanks to you, we don’t have to watch the GOUT ever again and I look forward to 4K80 and 4K83. 😃If I had a better real life I would’ve given it a shot probably, though I have 6GB ram so I bet my computer wouldn’t be able to handle working on a 4K movie. I’ll be checking back here and on myspleen every now and then and hope someone else who are able to do it will render another DNR version. It just made it look so much cleaner and I don’t often say that about DNR, with things like Predator Ultimate Hunter Edition in mind, or that new release of Jurassic Park.
No worries mate. I do wish you were feeling up to having a go at it yourself, I’ve always admired your work on the Team Blu projects. If things change, let me know, and I’ll gladly share the cleaned but not yet color corrected/sharpened (or DNR’d) prores files with you.
In the meantime, there is a spin off project called “The Skywalker Edition” that uses 4K77 as a jumping off point and may be closer to what you had in mind:
Here is a short preview
As usual with this sort of project, it’s hard to pin down when this might be finished, but keep any eye out for it sometime in the future. I’m told colors aren’t finalized yet, but they are in the ballpark. The creator, “SkyDude”, is using 2500+ 35mm Technicolor frames for quick color reference, but also has access to a complete, original Technicolor print, and it’s his job to restore films, so I’m hopeful that his project - and others like it - will continue to build on the foundations TN1 has provided, and push the quality envelope even further than we ever thought possible in our little community.
Alright, I’m gonna be completely honest now that I’ve watched a bit of it and provide some constructive criticizm:
You should’ve taken the final 4K77 and applied the DNR without the excessive sharpening.
Not much would’ve been needed to remove the pink if you think it’s too much (you would only have needed to balance the white point) and it should’ve been done reel by reel, not shot by shot since that requires extreme care and consistency.
The DNR release is very, very inconsistent in its color from shot to shot and some shots look a lot cleaner in the original. R2D2 in the canyon is oversaturated and has purple shadows, as if you went back before the color correction done to your first release, and that’s just one example.
…
You’re absolutely right about the color inconsistency, and I knew that before it was released - it really needs a final color correction pass to make sure each scene is consistent shot to shot, but I just didn’t have it in me to make that additional pass. I’m really hoping that one of the spin off projects can finish it off properly.
But this is also exactly why I made the noDNR version the way I did. Initially that was going to be color corrected too, and in fact the whole project was delayed more than 6 months while at least 5 people took a crack at the color correction, but I still wasn’t happy with any of them, so I had to go through and undo all the color changes, in favor of the simple, per reel white balance that would allow everybody to make their own color choices and make the film look however they wanted it to look.
I’ll walk you through the process I used for the DNR version, and then you’ll have a better understanding of how we got to where we are, and what you will want to do differently if you take a crack at it yourself.
Starting with the noDNR version, I used Neat Video to reduce the noise. A single noise profile can be used for the entire film and give you pretty good results, but for better results you will want to create a separate noise profile for each of the noisier shots: The smoke filled corridors on the Tantive, the droids in the Desert, “Look sir, Droids”, the sandcrawler coming over the Dune, the imfamous speeder scene, and just about any shot with a white/pink flash. Every single shot in those sequences had it’s own noise profile, because the level of noise varies greatly. I had initially set out to create a separate noise profile for every single shot in the film, but quickly discovered that even with an 8 GB video card and 128 GB of RAM, you run out of memory way before you run out of shots doing it that way with 4K footage.
Anyway, that took weeks, and when it was done it became obvious that all of that noise was hiding tons of dirt and dust that suddenly became very distracting. So I had to go through the entire film again, cleaning up the more distracting dirt and dust - and there’s still plenty left.
While I was in PFClean, I used the Color Balance effect to automatically balance every shot.
All that noise and grain provided an illusion of sharpness, so some sharpening is required at this point - I used RevisionFX SK Sharpen, and increased the contrast to make everything look sharper.
Finally, I used a commercially available, 4K Kodak 5219 35mm film grain layer to add a consistent level of grain throughout the film.
That was RC1.
For RC2 I went back and did a shot by shot curves adjustment, adding back some of the red and yellow that PFClean had removed, and made an effort to ensure that everytime we cut to Luke, for example, the colors matched the last time we cut to him at the same camera angle. It was at about this point I noticed that when we cut back to Ben, the colors were not quite the same as when we cut to Luke - the sand/rocks/walls were different enough that I knew it needed fixing.
But, it was May when I started working on the DNR version and now it is September. At some point you just have to call it and let it go. Let somebody else have a crack at it. I’ve been cleaning Star Wars every day since 2013, first with the Silver Screen Edition and then with 4K77. There’s always more that I could do to make it better - always!
But after 5 years I just want to move on to something else - or I’ll risk becoming like Lucas himself - unable to stop tweaking the film even after 30 years!
I have the scan of The Living Daylights print to work on, scans of the 16mm Making of Star Wars, From SW to Jedi and Classic Creatures, some 16mm and 35mm trailers for other films and TV Spots, and a little film called Return of the Jedi to finish up.
So I’m sorry if you don’t like this version - I’m not 100% happy with it myself - but I honestly believe that using both of these versions as a starting point, I’m giving you and everyone else just about everything you could possibly need to make your own dream version of Star Wars - with the noDNR version alone you now have access to a more or less untouched, relatively clean, complete version of Star Wars in 4K to play with! It wasn’t so long ago that the best version we had was the GOUT.
I’m sure Poita can do a better job than me, and hopefully one day we’ll get to see his own restoration of the film. There is also his scan of the SE print to consider - a lot of that scan could be used to upgrade the 4K77 footage.
But until then, I’m afraid it’s just not going to get much better than this - unless Lucasfilm rescans the original elements in 4K (or 8K) and reassembles the original cut of the film for us.
So I encourage all of you take these files and create your own ideal version of the film and then share it with us here - be like burger king and “have it your way”, but I’m done with this film (at least for now!)
The nonDNR version had a lot of grain so it needed a higher bitrate to preserve it. The DNR version is not as complex so it doesn’t need that high of a bitrate.
That too!
Yes this was intentional for two reasons:
Conversely, the 1080p version is bigger than it was for exactly the same reasons: the noDNR version was encoded using quality based settings, while this one was encoded using a CBR of 40 MB/s for maximum quality - filesize didn’t seem so important here because whether it was 30 GB or 40 GB it was still going to need a DL BD 50 so why not make it maximum quality?
The subtle pink cast has been completely removed, which is great, but I kinda like the grain. Is there any possibility of releasing a version of 4K77 with the colour timing of the DNR version and film grain? It would be the best of both worlds.
I’d very much like such a version as well.
So would I, but I’m afraid it’s not that simple. I took the original release and ran it through After Effects for Denoising, then Phoenix for additional cleanup and PF Clean for shot by shot color correction. It went through After Effects again for additional scene by scene color correction to arrive at RC1 (the first private beta release). Then the output from RC1 had a second round of shot by shot color correction (almost every shot in the film) to get to the final release.
So to get to roughly the same place colorwise, at the very least I have to render it all out to DPX again (this time without the DNR), run it through my PF Clean project again, and then render it out of not one but two After Effects project files.
A potential solution could be to put the dnr version on top of the non dnr version in premiere or after effects and set the blend mode to “color”. Theoretically you’d get the luminosity of the non dnr version but the colors of the dnr version.
That works quite well actually.
^ Understood. I thought that the color work had preceded the clean-up.
My original plan was simply to denoise the original release, but it kind of snowballed- since I was working shot by shot anyway…
The subtle pink cast has been completely removed, which is great, but I kinda like the grain. Is there any possibility of releasing a version of 4K77 with the colour timing of the DNR version and film grain? It would be the best of both worlds.
I’d very much like such a version as well.
So would I, but I’m afraid it’s not that simple. I took the original release and ran it through After Effects for Denoising, then Phoenix for additional cleanup and PF Clean for shot by shot color correction. It went through After Effects again for additional scene by scene color correction to arrive at RC1 (the first private beta release). Then the output from RC1 had a second round of shot by shot color correction (almost every shot in the film) to get to the final release.
So to get to roughly the same place colorwise, at the very least I have to render it all out to DPX again (this time without the DNR), run it through my PF Clean project again, and then render it out of not one but two After Effects project files.
Here are a few NoDNR vs DNR comparisons, in case you are wondering if it’s worth the download:
very cool. is the LD audio avail anywhere for this?
Yes, I have the optical audio from the print, the LD audio, and the bluray and SE DVD audio. Once I patch the missing frames I’ll sync all available audio tracks.
Finally getting back to this project… While syncing Reel 1 with the bluray to find out which frames are missing I couldn’t help noticing the color disparity here - check out the color of the clock shadow on the bluray (bottom)!
Because shadows are always naturally neon green…
This one should be cool to see, actually! I remember seeing GoldenEye in cinemas back in late '95 and being shocked to actually notice the boom mic creeping in during certain shots. The one I remember most of all was when the girl is supposedly inspecting computer equipment she wants to buy, as a means of looking up Boris. From further memory, I think it also occurs during Bond’s early scenes with M, when they see the EMP blast going off on the screens. Curiously, with both the original widescreen laserdisc release and all DVD and HD issues the movie appears to be quite tightly cropped and re-framed, perhaps to hide this issue.
IIRC they discussed this on the 50th anniversary box set’s special feature about the restoration, though I think they were giving examples from several of the films, not just Goldeneye (or maybe not even Goldeneye at all). There is one movie where the entire camera and crew are visible in a reflection during a fight scene. Not sure which movie it was; I think one of the earlier ones. IIRC they digitally removed the error in the Blu-ray (Despecialized Bond, anyone?).
The film was The Man with the Golden Gun and EON chose NOT to fix it digitally. The mirror is knocked during the fight with the belly dancer and the entire crew becomes visible for less than a second. It’s one of those things you’d never notice until somebody points it out, and then you look for it every time you watch.
Those of you who don’t have the box set can watch the special feature about the restoration here:
http://www.the007dossier.com/007dossier/post/2015/02/09/James-Bond-007-License-to-Restore
Nice!
The GoldenEye project absolutely needs to gain more traction, after all it is the worst looking of the BDs.
Looks like it’s a go! https://originaltrilogy.com/topic/Goldeneye-35mm-Scan-and-Preservation/id/61888
That GoldenEye print is now just $200…
I picked up some 35mm clips from a print of GoldenEye on eBay a few weeks ago and the film looks pretty good on 35mm:
