ok maybe not 360p but I don’t expect a 4K release. at least not native 4K without any up scaling.
Are you new to the forum or what?
rsgoldfast Mastering AFK Training in Old School RuneScape
Hello everyone, Theoatrics here! If you’re looking to juggle your gaming with other activities in life while still making progress in Old School RuneScape, you’re in the right place. AFK (Away From Keyboard) training allows players to train skills efficiently without constant supervision. In this article, I’ll be walking you through AFK methods for every skill in 2025, organized alphabetically for your convenience.Agility
Player-Owned House Agility Course: This method involves auto-retaliating to a Tar Ranger, letting you navigate through various obstacles. Expect to earn between 1k to 10k XP per hour, with AFK intervals of 1 to 5 minutes.Blast Furnace Pedaling: Though not the most efficient, you can AFK for brief periods for about 6k XP per hour, but be wary of run energy depletion.
Brim Haven Agility Arena: Using the detached camera runelight plugin, this method yields up to 30k XP per hour. You can leave your computer while holding a wireless mouse.
Advanced Wims Course on Valamore: This newer course has two obstacles allowing around 20 seconds of AFK time and offers over 40k XP per hour.
Attack
Bandits: Wearing Saradomin or Zamorak gear ensures you can train at bandits without your health dropping for up to 20 minutes at a time.Nightmare Zone: Offers better XP with various setups including protection prayers and absorption potions, allowing for AFK intervals between 5 to 20 minutes.
Sulfur Naguars: Get up to 170k XP per hour with 10-minutes of AFK time before needing to reset aggression.
Crabs: A classic low-level AFK method with an aggression reset every 10 minutes.
Goating Potions: Provides 6 minutes of aggression for monsters, making it great for AFK Slayer training.
Construction
While not inherently AFK, training construction through Nightmare Zone by collecting long and curved bones works. You’ll average one bone every 2 hours, requiring approximately 5,000 hours to hit level 99.Cooking
Cooking Inventory of Food: This method gives about 1 minute of AFK time per inventory. It’s ideal for multitasking during shows or study sessions.Bake Pie Spell: For more efficient cooking, using the spell with summer pies can yield up to 490k XP per hour and 49 seconds of AFK time.
Crafting
Glass Blowing: Craft glass items for 49 seconds of AFK time per inventory.Gold/Silver Jewelry: Also offers 49 seconds of AFK time while being profitable.
Crafting Van Braces: Another viable option with a similar AFK duration.
Cutting Gemstones: Provides semi-AFK opportunities with 32 seconds of AFK time.
Defense
Train at the same methods as Attack (Bandits, Nightmare Zone, Sulfur Naguars), but you can also semi-AFK through chinning or bursting while in defensive mode to achieve over 300k XP.Farming
Picking Herbs: Perform this task within the Chambers of Zerich, giving around 30 seconds of AFK time and about 50k XP per hour.Firemaking
Forers Campfires: Allows for 81 seconds of AFK time.Wintertodt: Particularly in solo or low-player instances, you can play quite AFK.
Fishing
Cave Eels in Doresh Khn: This spot offers consistent fishing with 2 to 5 minutes of AFK time and XP rates ranging up to 45k.Trout/Salmon Fishing: The spot south of Prifddinas lets you gather up to 55k XP with at least 1 minute of AFK time.
Fletching
Cutting Gems into Bolt Tips: Minimal XP but allows for 81 seconds of AFK.Logs into Bows: This method provides 49 seconds of AFK time while achieving up to 165k XP per hour.
Herblore
Making Tars with Irits: Yields up to 170k XP per hour and offers excellent AFK durations.Creating Potions with Stackable Ingredients: Includes stamina potions for 49 seconds of AFK.
Hitpoints
Utilize chinning or bursting for the fastest XP, alongside the combat methods shared.Hunter: Training your Hunter skill at maniacal monkeys provides excellent AFK opportunities, with intervals lasting between 30 seconds to 2 minutes and XP rates hitting up to 110k per hour.
Magic
Splashing: Though slow and costly, splashing can yield over 70k XP per hour with up to 20 minutes of AFK time. However, it’s better to wait for a Kraken task to optimize your efforts.String Jewelry Spell: A straightforward method that provides 49 seconds of AFK time.
Nightmare Zone Magic Training: Utilizing super magic potions can afford you intervals of 5 to 20 minutes of AFK time while training.
Mining
Shooting Stars: The most AFK mining option, offering 7 minutes of AFK time per star tier, but keep in mind that XP rates can be relatively slow.Calcified Rocks: You can achieve around 50k mining XP, allowing for about 70 seconds of AFK time per vein.
Motherload Mine: The upper floor provides AFK time ranging from 20 to 40 seconds.
Juke Mining: Even with patches, you can still manage to mine for about 5 minutes AFK.
Prayer
Gilded Altar: By using an inventory of bones, you can achieve 49 seconds of AFK time at a gilded altar, which is a popular method for prayer training.Chaos Altar: Located in the Wilderness, this offers about 1.5 minutes of AFK time, making it a viable option.
Reanimating Insold Heads: While this method offers less than 30 seconds of AFK time, it can be used to supplement your prayer XP gain.
Ranged
Swamp Crabs: An excellent low-level method lets you AFK for 10 minutes before needing to reset the aggression.Nightmare Zone: Similar to Attack and Defense, you can achieve AFK intervals of 20 minutes here.
Using the Ventor Bow: This is one of the best AFK options for Ranged training, especially in conjunction with Slayer tasks.
Runecrafting
Za Dense Essence Rune Crafting: Famous for its AFK potential, expect varying intervals but somewhat consistent AFK times averaging around 1 minute.Dealt Essence at the Urania Altar: You can achieve about 60 seconds of AFK time during essence mining and 30 seconds at the altar, yielding impressive XP rates of over 100k with dayop essence.
Slayer
Fighting Aggressive Monsters: It allows for up to 10 minutes of AFK time before needing to reset.Using a Cannon: When set up correctly, AFK intervals can run between 2 to 5 minutes depending on your task.
Goating Potions: Keeping monsters aggressive for 6 minutes, combined with prayer regeneration potions, extends your training time.
Smithing
Dart Tips: This method provides 81 seconds of AFK time per inventory, decent for mellower sessions.Cannonballs: They allow for up to 2 minutes of AFK time, though the XP rates and profits are relatively slow.
Smelting Gold or Silver Ore: Here, you can achieve 67 seconds of AFK time per full inventory.
Strength
Follow the same strategies listed under Attack for effective AFK training options.Thieving
Stealing from Houses in Valammore: This method grants you 60 seconds of AFK time and up to 100k XP per hour.House Keys from Distracted Citizens: This approach provides 24 seconds of AFK time, enabling you to mix things up while training.
Woodcutting
Redwood Trees: The ultimate AFK woodcutting method, giving around 5 minutes of AFK time, paired with decent XP rates.Magic Trees: You can achieve roughly 4 minutes of AFK time here.
Yews: While not as strong as the other two options, they can give about 2 minutes of AFK time.
Conclusion
With this comprehensive guide, you should have a solid foundation for mastering AFK training across all skills in Old School RuneScape in 2025. Whether you prefer to watch a show, study, or simply engage in other activities while your character trains, these AFK methods allow you to maximize your efficiency.
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De que pantuflas hablas???
Seriously… what happened to all the color before???
Looking at the UHD now almost gives me an aneurysm… that should be illegal. Do we know who did the “CC” on the 2019 versions? Cause it couldn’t have been Lucas, right?
Charles Bunnag, colorist extraordinaire:
Star Wars has become a saga of inhospitable, dry, dark, almost monochromatic, and sad colors, all different from what the original trilogy was in its time or the prequels.
NEW SCREENSHOT COMPARISON - AND A NEW VIDEO CLIP - FROM EMPIRE STRIKES BACK…
ALI…
The colors are unimaginable; I mean, there’s always been orange and blue, but this is different, it’s like something new, it seems otherworldly.
NEW SCREENSHOT COMPARISON - AND A NEW VIDEO CLIP - FROM EMPIRE STRIKES BACK…
ALI…
4K80…
Do you notice that the colors are very similar?
SomethingStarWarsRelated said:
For those with keen ears, what, if any, differences are you hearing in these clips? Like, is there more clarity in the audio? I honestly can’t hear any difference.
What do you think of the new audio? I mean, sometimes it sounds cleaner and much clearer, with the sound effects much more controlled,but other times the voices feel drowned out
I think it has been discussed somewhere on here mate - though the gist was it is likely a temporary crop for this aspect of the project - or possibly cropped to focus on / examine any potential image issues for the ALI team (or for those they are uploading the images for). It is also worth noting when using any IB Tech print footage it would likely be cropped more tightly before ‘final cut’.
As it is all a WIP (Work In Progress)… many of us simply trust ALI to get this right like they’ve done pretty much everything else so far. 👍
It’s rumored there will be an IMAX release, so if that’s true, could the films be seen in complete frame format?
NEW SCREENSHOT COMPARISON - AND A NEW VIDEO CLIP - FROM EMPIRE STRIKES BACK…
ALI…
The colors feel vivid and vibrant, not at all saturated, and the image is quite clean; it’s not the oversaturated and dirty image of the 04SE nor the washed-out look of the 19SE—it’s exactly how it should be.
You know what’s going to happen in the aftermath? Now you’ll have a few fan efforts using the new restorations to improve the special editions. Basically, the complete inverse of the situation up until now lol
That’s exactly what I’ve been thinking. The special editions have always been there, in HD, with more detail than any official or unofficial release of OUT, but that doesn’t mean they looked good. The 2004 release was scanned at a lamentable, primitive 1080p, with poorly saturated colors that didn’t necessarily look vibrant, bad graduates, and with fake grain. And the 2019 Special Edition, although in 4K with more detail and a cleaner image, looks washed out, especially with the very abusive DNR that eliminated many details, with that static digital fake grain, and almost monochromatic colors. It’s curious, they’ve always been the only high-definition versions of Star Wars used to reconstruct The OUT, but now that The OUT will be restored with a perfect procedure, a large budget, color references, and utmost care, we’re going to have the originals in the highest quality, and the SE is going to be the one that comes off badly this time because of the two previous releases.
They also had the option of scanning the separation masters, which are pretty much pristine and don’t fade at all, but that’s more work/time/money and apparently the negatives were still salvageable.
They did scan the Separation Masters. And used them as a primary reference for color and fade correction.
They probably scanned the three separation masters in 4K since they were only interested in the color, planning to combine them later and use them as a reference for grading the OCN. But if they did that with the three masters, I think it would have been faster to scan the three separation masters in 8K, combine them, clean them up a bit, and release it. The separation masters together are a literal, identical copy of the OCN, without the extra grain, since they are black and white copies with finer grain, inked with ink. But all in all, what they are doing is incredible: restoring the original from the degraded OCN to the digital realm, this time in good condition, using miraculous techniques, effort, a large budget, and the most modern and refined techniques since the concept of a “digital master” existed for those restorations of classics. We’ve seen The Wizard of Oz, Lawrence of Arabia, and Blade Runner restored for preservation, respecting their legacy, and now it’s Star Wars’ turn.
But even still, they’re second-generation. Right?
That is to say, yes, but you don’t notice it. Being black and white films, their grain is finer than that of a 1970s color film. In fact, when YCM Labs made their corrected IP, which was used as the master for the 97SE, ultra-fine grain color films already existed. Therefore, in 2004 they wouldn’t have needed to use OCN to restore it so poorly in digital, since they had a perfect print, a literal copy of the negative without necessarily worse quality for being second generation, and with the SE additions and changes that George liked so much.
If this were true, they’d always use the seps and not risk wear on the negative.
While they’re an extremely high quality second-gen copy, they’re still going to have some degree of generational loss…
George is the same one who has insisted on using the negative whenever possible; that doesn’t change the fact that the separation masters together are a literal copy of the OCN. Ted Gagliano states: “You know the original negative will fade, so you can turn to the separation masters; it’s the record of what it’ll look like and it’ll last forever. So the negative you make off your YCMs should be just as good as the original negative.”
They also had the option of scanning the separation masters, which are pretty much pristine and don’t fade at all, but that’s more work/time/money and apparently the negatives were still salvageable.
They did scan the Separation Masters. And used them as a primary reference for color and fade correction.
They probably scanned the three separation masters in 4K since they were only interested in the color, planning to combine them later and use them as a reference for grading the OCN. But if they did that with the three masters, I think it would have been faster to scan the three separation masters in 8K, combine them, clean them up a bit, and release it. The separation masters together are a literal, identical copy of the OCN, without the extra grain, since they are black and white copies with finer grain, inked with ink. But all in all, what they are doing is incredible: restoring the original from the degraded OCN to the digital realm, this time in good condition, using miraculous techniques, effort, a large budget, and the most modern and refined techniques since the concept of a “digital master” existed for those restorations of classics. We’ve seen The Wizard of Oz, Lawrence of Arabia, and Blade Runner restored for preservation, respecting their legacy, and now it’s Star Wars’ turn.
But even still, they’re second-generation. Right?
That is to say, yes, but you don’t notice it. Being black and white films, their grain is finer than that of a 1970s color film. In fact, when YCM Labs made their corrected IP, which was used as the master for the 97SE, ultra-fine grain color films already existed. Therefore, in 2004 they wouldn’t have needed to use OCN to restore it so poorly in digital, since they had a perfect print, a literal copy of the negative without necessarily worse quality for being second generation, and with the SE additions and changes that George liked so much.
They also had the option of scanning the separation masters, which are pretty much pristine and don’t fade at all, but that’s more work/time/money and apparently the negatives were still salvageable.
They did scan the Separation Masters. And used them as a primary reference for color and fade correction.
They probably scanned the three separation masters in 4K since they were only interested in the color, planning to combine them later and use them as a reference for grading the OCN. But if they did that with the three masters, I think it would have been faster to scan the three separation masters in 8K, combine them, clean them up a bit, and release it. The separation masters together are a literal, identical copy of the OCN, without the extra grain, since they are black and white copies with finer grain, inked with ink. But all in all, what they are doing is incredible: restoring the original from the degraded OCN to the digital realm, this time in good condition, using miraculous techniques, effort, a large budget, and the most modern and refined techniques since the concept of a “digital master” existed for those restorations of classics. We’ve seen The Wizard of Oz, Lawrence of Arabia, and Blade Runner restored for preservation, respecting their legacy, and now it’s Star Wars’ turn.
Well, it took 8,306 days (March 10 2003 - December 5 2025) but this site’s goal has been finally confirmed.
How’s that feeling, folks?
Imagine if this site was created 20 years ago for this moment, it’s crazy, this has really taken a long time, and I even feel excited even though I arrived here a year ago, but seeing the greatest trilogy of all time in the highest quality and in the cinema is an impossible dream come true
Clearly not, because the color grading on all previous home media releases has been way off.
First of all, if those releases look bad it’s because they didn’t use color references, not because they didn’t have
any, the 2004 release looks awful because George was out of his mind, and the 19SE looks like that because they brought in the colorist from The Mandalorian to grade the trilogy according to the saga’s new style: dark, dry, monochromatic, and cold, unfortunately, and using a base from the canceled 2012-14 3D release, from which they abused DNR, removing details in many places and making many shots look blurry. But they must have color references.
The separation masters are generally made from the raw negative, so those wouldn’t be color graded. Only the interpositive and later is color graded.
So what? Even if the separation masters come from an unaltered OCN that hasn’t undergone color grading, they’re still a better color sample than any other material. While they may not have the colors George envisioned in 1977, they still provide proof of how it looked on the OCN before degradation. And nobody’s stopping them from using these masters as a great reference for this new restoration. Even if they don’t have George’s personal Technicolor copy with the graded colors seen in theaters, the 1997 SE master also works, because this master used the private copy as a color reference. And many on this forum can attest that Star Wars has never looked like Star Wars since that premiere way back in 1997.
That Patreon post just reeks of B.H’s brand of B.S. It’s pretty clear through the way he’s writing that he “found out about this” the same way everyone else did - via the initial leaks that first happened on the YouTube. Someone musta shot him those details on the low (of course they did, rule #1 of having a secret is telling someone you’re not supposed to).
Everything else in that post is… I don’t know that he’s just making stuff up whole-cloth, but he’s definitely embellishing a great deal on what happened and when it happened. I think he’s simply betting that nobody who is paying him money to talk about home video in 2025 is going to either know, or be in a position to know, that he’s fluffing himself, LOL.
But the big tell is that he seems to have no real idea what the timeline on this was, and keeps talking about it like it’s way more recent than it really was. The whole bit about him tying all this together in his mind (a regular Pepe Silvia here) upon hearing about the BFI screening is the giveaway. He seems to legit believe that screening and this restoration (which began YEARS AGO) are inexorably linked, and that the former is key to the latter.
He’s laying out a line of bull for people who value the idea of being an insider so much they’re willing to pay him a monthly fee to feel like they have a friend in the industry (he takes care to spell out how connected he is, don’t he). He doesn’t know any more than anyone that’s been keyed into this leak from the beginning. But there’s worth in convincing people he does, so he’s going to do that.
I’ll give him this, he’s done a really good job at parlaying being “the face” of DVD collecting in its heyday into an ongoing hustle all the way into the UHD era. He’s ridden the decline of physical media as well as any of his peers ever did. But if you gotta dedicate 3-4 paragraphs to reminding people that you know people, it’s doing the opposite of what you want it to do. These aren’t the days where bonus feature teasers got Hall-H panels by themselves, and it hasn’t been that for a decade.
Thank you, it’s always good to clear up doubts and expose the lies others spread to get attention. Because let’s think about it, Disney must have a very complete record of how the films looked. They have their own interpositives, some more degraded than others, which was the reason they went back to the OCN in 1994 to make the Special Edition. But some must be in good enough condition to retain the color, like a Technicolor copy straight from the OCN, such as George’s private copy. Or perhaps they don’t have to go that far; they could use the separation masters or the YCM masters and scan them as a reference file. Just because Disney allowed the BFI screening doesn’t mean they were interested in that copy. Lucasfilm will have more copies of the film in color in their vault, even if they’re generations removed from the negative, and they’ll only use the color from those copies as a reference to colorize the highest quality material, which is the OCN. But they don’t depend on collectors who own rare copies for million-dollar projects because they already have all the material that we here would sell our souls to own.
Most of the VFX were done in the 8-perf VistaVision format, which is higher resolution than standard 4-perf 35mm.
The notes mentioned that the VistaVision VFX shots are being scanned in 8K, all of the standard 35mm is being scanned in 6K.
In this case, it’s a restoration with consistent and meticulous quality; the 35mm is perfect for 6K, and the larger VistaVision is ideal for 8K.
I have tried posting this numerous times now and everywhere i’ve uploaded it, it has instantly been blocked. My only option was to upload it to google drive. I don’t know how long this will last due to the bandwidth restrictions , but it was my only option. You can view the preview or download the clip to see it in better quality ( which is what i would recommend )
If you want to prevent your video from being blocked due to copyright issues, add this to the YouTube description. (Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended)
One thing I’ve been thinking about this restoration is: How are they going to handle the international dubs? For example, are they simply going to hire a Brazilian studio to make a new dub (as the special edition versions we have probably won’t fit well) or are they going to restore the old Herbert Richers dub somehow?
Disney maintains its own archive of every dub created for its films. For example, in 1997, when the Special Edition was released in Spain, 20th Century Fox commissioned the dubbing of the new scenes using the existing dub as a base. To do this, they first had to digitize the dub so it could be played on a DTS CD and then combine it with the new dubbed scenes. However, the dub from the unmodified version was still present, albeit in analog format. What Disney would have to do is re-digitize each dub for this restoration, since, as I’ve already mentioned, the changes for the Special Edition were made and applied digitally. It will be difficult to re-digitize each European dub, the Asian ones, and perhaps the Latin American one, but digitally they won’t have to modify anything, just clean them up until they sound like new, as they’ve done with previous releases (except for the Castilian Spanish dub, because we continue use the DTS 5.1 DVD track in 2025 thanks to Disney and Divisa Films).
NEW SCREENSHOT COMPARISON - AND A NEW VIDEO CLIP - FROM RETURN OF THE JEDI…
ALI…
God, I want to share my thoughts, and this can’t be ignored, but look at that level of quality. ALI is proving to be technological magic. Initially, I raised an eyebrow in concern when I read that this software extracts all the grain, fixes the underlying image, and then adds it back in. Even though they claim that not a single detail is lost, I was still worried, knowing that official Star Wars releases are usually disappointing and always seem to do something to ruin them. Here, they’re simply doing something unbelievable. If this is the level a 35mm film from the '70s and '80s can actually offer, imagine what we’ve possibly missed from other celluloid productions released on UHD. A while ago, I saw the new remaster of Jaws, and I couldn’t believe it; it looked PERFECT. The quality and the grain were exactly what this production was meant to showcase. But now I’m wondering if the ALI process would make it look even better.
I’m really curious as to where they will get the original colors from 1977, 1980 and 1983 and to know they are accurate.
What references do they have. I’m somewhat skeptical because Lowry messed them up twice.
I don’t think Lowry “messed them up”. The DVDs and BDs almost certainly looked as George wanted them.
He just really loves magenta.
Which is odd, considering he oversaw and approved the gorgeous 1997 SE color grade lol…
The original negative was so faded that when it came to making the IP that would be the basis of the SE, they couldn’t afford to “experiment” with the colors that could be achieved with analog color correction; it was either have color again or never finish and end up completely wearing out the OCN until it was too late. With digital technology, George had the luxury of doing it, but for the 97 SE they had to be sure with what they had.
UHD…
This is one of the few shots that made me say, “UHD is far better than HD04.” While it’s obvious that 4K crushes the terrible 2004 transfer, it wasn’t a job that met modern viewing standards, with its horrible monochrome colors in HDR (I don’t know how it looks in Dolby Vision) and excessive DNR. Now we’ll have a true remaster, and it’s from the original, no less.
NEW SCREENSHOT COMPARISON - AND A NEW VIDEO CLIP - FROM RETURN OF THE JEDI…
ALI…
The most detailed old wrinkled one ever
Detail: ALI…
Detail: UHD…
Well, it’s important to note that this shot was digitized in 2K in 1997 to add the rope holding Han, so the UHD not only includes that shot with a clearly lower resolution, but also suffers from excessive DNR for the 3D conversion, which caused the image to lose detail.
Yeah, the point of the comparison is that this isn’t sourced from the UHD. Or you’re right, it would also have quality loss. Also good to note that the 97 filmouts also had fake digital grain added on top to disguise the new CG! So yeah, doubly worse…
I don’t know why you say “digital fake grain was added.” This shot was scanned, digitized, had CGI added, and was reprinted. If there’s supposedly more grain, it’s because of the reprinting. Although, back then, films had very fine grain, so no detail was lost when reprinting a film a second time. In the case of the enhanced shots in Star Wars, they look “worse” because they were rendered in 2K.
No, they had fake grain added onto them aswell… even in '97.
https://youtu.be/RMzif1D0nyA
Well, I think it refers more to the completely computer-generated shots, like the CGI shots of the Battle of Yavin, the CGI arrival on Bespin, among others, but the existing shots that were altered already had grain, and when reprinting, the natural grain of the new film did its thing.
Detail: ALI…
Detail: UHD…
Well, it’s important to note that this shot was digitized in 2K in 1997 to add the rope holding Han, so the UHD not only includes that shot with a clearly lower resolution, but also suffers from excessive DNR for the 3D conversion, which caused the image to lose detail.
Yeah, the point of the comparison is that this isn’t sourced from the UHD. Or you’re right, it would also have quality loss. Also good to note that the 97 filmouts also had fake digital grain added on top to disguise the new CG! So yeah, doubly worse…
I don’t know why you say “digital fake grain was added.” This shot was scanned, digitized, had CGI added, and was reprinted. If there’s supposedly more grain, it’s because of the reprinting. Although, back then, films had very fine grain, so no detail was lost when reprinting a film a second time. In the case of the enhanced shots in Star Wars, they look “worse” because they were rendered in 2K.
Detail: ALI…
Detail: UHD…
Well, it’s important to note that this shot was digitized in 2K in 1997 to add the rope holding Han, so the UHD not only includes that shot with a clearly lower resolution, but also suffers from excessive DNR for the 3D conversion, which caused the image to lose detail.
