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Attack of the Clones - Centropy UAR version

Attack of the Clones - Centropy UAR version

What is it?

Just the Centropy SVCD, theatrical cut, deblocked, denoised, regrained, upscaled, and with the perspective fixed; this leads to a strange aspect ratio (that remains the same for the whole movie, though!); no color/contrast change.

Examples (top SVCD bicubic, bottom UAR):

so, do not expect a miracle; just a less blocky, slightly cleaned, perspective fixed version, that’s all - if you can stand the strange aspect ratio… 😄

File is AVC 1280x720 (so with added black bars on top and bottom) 3mbps, AC3 192kbps dual mono track; muxed in a .mkv file, BD compliant.

Released on the usual internal organ… enjoy!


Unique ID : 188879011467279507456637969786387064788 (0x8E18C63F69CA99FBB1BD03427F0867D4)
Complete name : E:\AOTC_Centropy_UAR.mkv
Format : Matroska
Format version : Version 4 / Version 2
File size : 3.97 GiB
Duration : 2 h 15 min
Overall bit rate : 4 195 kb/s
Encoded date : UTC 2018-03-30 01:13:34
Writing application : mkvmerge v9.6.0 (‘Slave To Your Mind’) 32bit
Writing library : libebml v1.3.4 + libmatroska v1.4.5
ID : 1
Format : AVC
Format/Info : Advanced Video Codec
Format profile : High@L3.1
Format settings, CABAC : Yes
Format settings, ReFrames : 4 frames
Duration : 2 h 15 min
Bit rate : 4 000 kb/s
Width : 1 280 pixels
Height : 720 pixels
Display aspect ratio : 16:9
Frame rate mode : Constant
Frame rate : 23.976 (24000/1001) FPS
Color space : YUV
Chroma subsampling : 4:2:0
Bit depth : 8 bits
Scan type : Progressive
Bits/(Pixel*Frame) : 0.181
Stream size : 3.78 GiB (95%)
Writing library : x264 core 148 r2694bm 3b70645
Encoding settings : cabac=1 / ref=1 / deblock=1👎-1 / analyse=0x3:0x3 / me=dia / subme=1 / psy=1 / psy_rd=1.00:0.15 / mixed_ref=0 / me_range=16 / chroma_me=1 / trellis=0 / 8x8dct=1 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=0 / threads=12 / lookahead_threads=2 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0 / constrained_intra=0 / bframes=3 / b_pyramid=2 / b_adapt=1 / b_bias=0 / direct=1 / weightb=1 / open_gop=0 / weightp=1 / keyint=250 / keyint_min=23 / scenecut=40 / intra_refresh=0 / rc=abr / mbtree=0 / bitrate=4000 / ratetol=1.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / ip_ratio=1.40 / pb_ratio=1.30 / aq=1:1.00
Language : English
Default : Yes
Forced : No
ID : 2
Format : AC-3
Format/Info : Audio Coding 3
Mode extension : CM (complete main)
Format settings, Endianness : Big
Codec ID : A_AC3
Duration : 2 h 15 min
Bit rate mode : Constant
Bit rate : 192 kb/s
Channel(s) : 2 channels
Channel positions : Front: L R
Sampling rate : 48.0 kHz
Frame rate : 31.250 FPS (1536 spf)
Bit depth : 16 bits
Compression mode : Lossy
Stream size : 186 MiB (5%)
Language : English
Default : Yes
Forced : No

Rogue One UAR: anyone interested?

Well, I tinkered with the idea of making a fan edit a long ago, so maybe UAR + color correction + (slight) fan edit (only added crawl, cut original title, Jedi statue flipped to have better continuity) could be a nice project.

So, at the end, there are four possible versions:

UAR (no color correction, no edits)
UAR + color correction
UAR fan-edit
UAR fan edit + color correction

I’m keen to release the first and the last.

Of course original audio would also be included - but it will be re-encoded in the (eventual) fan edit.


Attack of the Clones - Centropy Theatrical Telesync "Remastered"

Bobson Dugnutt, I appreciate what you are doing.

But the perspective adjustment, even if technically correct, it is not the only possible way to fix it…

Yes, there is another unorthodox method to get the perspective right, preserving more details on both sides, at the cost of diagonal lateral sides…

top Bobson Dugnutt, middle mine (using PAL SVCD), bottom HDTV:

as you can see, the perspective is (more or less) in line, while there are more image on both “triangular slices” at the sides; also, image is a bit better due to increased resolution of PAL SVCD (480x576) in comparison to VCD (352x240/288). NOTE: final version will got both top quadrilateral vertices touching the screen sides, here they are moved to align with the HDTV.

Now, if someone could be interested in a such bizarre version (that, techically, is another UAR), please let me know.

Rogue One UAR: anyone interested?

Added the crawl, and consequentely cut the title.

Test clip:
just the first few minutes with the crawl and following shots, and the scenes before and after the place where there were the title - only UAR, no color correction for the moment.

Audio mix is what it is - less than perfect, but it works… all proudly done in avisynth!

Feedbacks are welcome!

The Force Awakens - IMAX Edition - Help needed!

@Sir Ridley:

about WOWOW:

Agree that regrade in not really necessary, as overall colors are usually good; and yes, in some shots are clipped; it’s a compromise to obtain more details on darkest shots, and get that “filmic look” that I like; also, get rid of the magenta blanket is a nice result IMHO.

And, if someone would like to get the original colors, read the previous post! 😄

@schorman13: haven’t the possibility to burn a BD-R, so can’t test it on an hardware player, even if it would be nice if someone could do it! What I can say is it seems to work on any widespread free software players, but only for scenes "YAO"ized up to 1 minute long (if longer, some skip one frame every minute), while others works perfectly for any lenght (namely, MPV and SVPlayer); I usually build YAO subs with 1s/2s long subs, so if one would like to go FFW/REW, the eventual part without subs is limited to 1s/2s max.

The Force Awakens - IMAX Edition - Help needed!

I guess if someone has ultimately done this project.

If not, and there is still some interest, I could do it (thanks do Adywan that kindly donated the restored scene), along with color correction (using the DCP trailer as a loose color reference), and with a YAO hack that will cover the “exceeding” image on top and bottom of the IMAX scene, leaving the movie OAR for the VAR haters (sacrificing only those three brief cropped shots inside that IMAX scene).

Also, BD image may be eventually improved using the WOWOW recording.

By the way, I’ve discovered that the IMAX picture found here ( - that is 1.33:1, by the way - has been recomposited (unless BD/HDTV were recomposited instead, but I don’t think it’s the case)

As you can see, Finn and part of the dust cloud behind him are the same, while the rest is different…

Movies in UAR - opinions needed

@Ronster: watching a movie in VAR (variable aspect ratio) may be more distracting than watching one in UAR - depending on movies, of course!

@ThiefCobbler4ever: yes, “officialy” now U stands for Ultimate; unofficialy, you can always use your own preferred adjective - a bit like NTSC, Never Twice Same Color! 😄

It’s interesting to note that sometimes UAR has more image even on one side, in comparison to letterbox version:

Alien saga [Fundamental Collection]

Alien: Resurrection - UAR test clip (1m52s, 135MB, 10mbps, no audio, no color regraded): (temporary link, so hurry up!)

It’s rock solid stable, and the aspect ratio stay the same for the whole clip, despite a lot of shots; I briefly inspected the rest of the movie, and it seems most part will be the same, so a good change to watch an UAR movie for the people who suffer of “aspect ratio changes sickness”!

Feedbacks are welcome!

Star Wars: SDTV & HDTV digital broadcast * database *

Updated first post with the new Rogue One HDTV.

I wonder if there is a similar one for EP7.

Also, IIRC, there were cropped versions of at least the prequel trilogy, broadcasted many years ago; there is a VERY SLIGHT chance that, even if cropped, those retain a bit more image on top and bottom, as RO HDTV; if someone has them, please drop me a PM, thanks!

Rogue One UAR: anyone interested?

Some screenshots:

In few shots, there is no added image, hence the aspect ratio is normal letterbox; in all the others, there is a small gain top and bottom, a bit above 7% more in comparison to BD (also in very few shots, like the one in the second pic, there is a tiny bit more on one side, too - we are talking about 2 or 3 pixels…)

CourtlyHades296 said:

Has anyone done a similar comparison between the blu-ray and hdtv versions of TFA aside from the imax scene?

Force Awakens was filmed in anamorphic Panavision, thus the HDTV is pure pan and scan.

Not necessarily… an anamorphic film could gain something, too - not only on top and bottom, but sometimes also on one side:

Movies in UAR - screenshot comparisons

Because there is some interest in UAR projects, but many don’t know how they will look like, I thought to compile a list of screenshot comparisons, so everyone will be able to take a look!

More info on UAR here: Hybrid Vs UAR - a simple guide

Terminator 2 -
test version! I’m still not happy with the color matching in some scenes, so I won’t work on it until I’ll be able to find out a letterbox (even in standard definition) which uses the same master of the fullscreen DVD.

The Arrival (1996) -
this is mostly a fullscreen version with added “slices” on both sides; if there is some interest, I’m ready to turn it in an hybrid fullscreen version instead.

Silent Hill -
HD-DVD Vs UAR dual source

Harry Potter and the Order of the Phoenix -
BD Vs UAR triple source

Jurassic Park III -
as other UAR dual sources, this has many shots in fullscreen with “slices” added on both sides, but in many others the contrary is true, where open matte has more image on top and/or bottom.

Resident Evil: Apocalypse -
BD Vs UAR dual source - maybe it will end up using three

Resident Evil: Afterlife -
OAR Vs UAR dual source - only few scenes are actually really in open matte (and subsequentially in UAR); of course, the French text is not present in the final version!

Resident Evil -
moviefingerprint - BD Vs UAR dual source

Terminator 3 -
moviefingerprint - HDTV Vs UAR dual source

The Dark Tower -
moviefingerprint - open matte has logo which is visible in few shots; solutions could be to wait for another open matte version without logo (or with it in another place), or use the plain BD, or crop the top of the image, or try an impaint and see if could work (it probably will in a couple of shots IMHO).

Creep (2004)

The Matrix

And, to be in line with the motto “UAR: because every single pixel counts!™”:

Alien: Resurrection -
not only more image on top and bottom, in comparison to blu-ray, but also on both sides!!!

Deep Rising -
this will be mostly an hybrid version, but it’s interesting to note that, even in full open matte shots (almost all), the UAR has more image on top thanks to blu-ray!

Alien 3 -
incredibly, it’s possible to add some (few) parts of an image even on anamorphic films!

Note: at the moment, none of these has been released!

Hybrid Vs UAR - a simple guide

Hybrid Vs UAR - a simple guide

Maybe someone has encountered a so-called “Hybrid” version, and does not know what it is about; and I bet many don’t know about UAR as well! So, this post would try to clarify this - I hope so!

Note: in this article, we use the following terms for the most used aspect ratios
fullscreen=1.33:1 (but could be also up to 1.66:1), open matte=1.78:1 (but could be also down to 1.66:1), letterbox=2.40:1 (but could be also down to 1.85:1)

Hybrid: obtained overlapping the source with higher quality on top of lower quality one; borders (if any) are straight; image aspect ratio is the same of one of the sources.
PROs: retains the same AR for the whole movie; improved quality of the center "slice"
CONs: usually does not preserve OAR; sometimes sources are cropped, and, if not stated, it is difficult to know that; “ambilight” version could be annoying for someone

UAR: previously known as AAP-AR (axis-aligned polygon aspect ratio), this is obtained overlapping two or more sources; borders are not straight, but stairsteps-like.
PROs: more image than any single source; improved quality of the source overlaid on top; two sources version can retain OAR using YAO hack
CONs: three sources version can’t preserve OAR; “stairsteps” borders and/or VAR could be annoying for someone

Examples (green=best quality source, blue=middle quality source, red=lower quality source, yellow=mixed sources):

Hybrid - letterbox overlapped to open matte

This is the classic situation where high quality letterbox source, usually BD, is placed on top of lower quality open matte, usually WEB-DL or HDTV; when no BD of a given movie exists, letterbox could be WEB-DL or HDTV 1080p, where open matte could be WEB-DL or HDTV 720p, or even DVD. This would preserve the open matte AR.
WARNING: <span style=“color: #ff3333”>when letterbox has more image on one or both sides, it must be cropped</span> <span style=“color: #33cc33”>unless the open matte is full, hence both sources have the same frame width</span>

Showgirls - Remastered Open Matte - Cinema Polish

NOTE: here open matte is full, apart two or three shots, hence it is mainly uncropped, apart those brief ones.

Hybrid - letterbox or open matte overlapped to fullscreen

Another example of hybrid; the letterbox/open matte could usually be BD, WEB-DL, HDTV, where fullscreen is often a DVD.
WARNING: <span style=“color: #ff3333”>the letterbox/open matte would be cropped at both sides, to preserve the fullscreen AR,</span> <span style=“color: #33cc33”>unless both frames have the same width</span> (AFAIK no title does that for the whole duration of the film)

Jurassic Park III - UAR (in progress, 1.78:1+1.33:1)

NOTE: indeed, this will be an UAR version, but in some shots it happens that both sources perfectly match their frame width, hence no cropping.

Hybrid - fullscreen overlapped to letterbox or open matte

A rare case where a fullscreen (cropped or pan&s;scan) version has better quality than letterbox/open matte; I could think of HDTV for fullscreen and DVD for letterbox. WARNING: <span style=“color: #ffcc33”>the fullscreen would usually be cropped on top and/or bottom, to preserve the letterbox AR.</span>

Event Horizon (test, cropped 1.78:1+2.40:1)

NOTE: indeed, this test used HDTV as fullscreen and BD as letterbox; in theory HDTV, having an higher resolution, could held a better quality; top and bottom slices are still there and would be cropped in an hybrid version.

Hybrid - letterbox overlapped to fullscreen (cropped)

In this version, <span style=“color: #ff3333”>one or both sources are cropped, to get a “custom” open matte AR</span> - which is more or less between fullscreen and letterbox; so, you would get a bit more image on top and bottom in comparison to letterbox, and a bit more image on one or both sides in comparison to fullscreen; still, image would be cropped in comparison of a “pure” UAR version. Black corners would be unavoidable, but in this instance they could be filled with so-called “ambilight” or “frosty borders” (a feasible option), or inpainted (still to find out an inpaint technique that would works well in video… let’s wait for a great neural net/deep learning technology!)

Terminator 2: Judgement Day (custom open matte, experimental)

NOTE: in some shots the “ambilight” corners pass unnoticed, whereas in others are quite noticeable. As usual, is up to the single viewer to prefer this version, an UAR, or simply neither.

UAR 2 sources - letterbox or open matte overlapped to fullscreen (no cropping)

UAR using two sources; letterbox/open matte could be BD, WEB-DL, HDTV, while fullscreen could be DVD. UAR would get as much image as possible.

Resident Evil: Apocalypse UAR (in progress, 1.78:1+1.33:1)

Resident Evil: Afterlife UAR (raw test made in paint, 2.40:1+1.33:1)

UAR 2 sources - fullscreen or open matte overlapped to letterbox (no cropping)

Here we have a better quality open matte source, usually WEB-DL or HDTV, placed on top of lower quality letterbox, usually DVD; at the contrary, if the letterbox has higher quality, like a BD or HD-DVD, it could be put on top of open matte.

Silent Hill UAR (in progress, 2.35:1+1.78:1)

UAR 3 sources - letterbox overlapped to open matte overlapped to fullscreen (no cropping)

Here you can get as much image as possible, using three sources; stairsteps borders are even more evident in this case.

The Matrix (UAR 2.40:1+1.78:1+1.33:1, experimental)

UAR 2 sources - letterbox or open matte overlapped to fullscreen (no cropping)

In this case, where letterbox and fullscreen sources are of comparable quality, it is possible to mix them (percentage varies according to quality of each source) to let the sources blend better and improve the final result.

Jurassic Park III - UAR (in progress, 1.78:1 85%+1.33:1 15%, more or less…)

Short FAQ

Q: I want to watch a movie in its OAR; should I go for hybrid, or UAR version?
A: Surely not for UAR; in some cases hybrid could retain OAR; you should compare the OAR of that movie, and the one of the hybrid version to be sure.

Q: When I should watch an hybrid version?
A: Every time you like to see that movie in the hybrid AR, even if it’s not in its OAR; you would get a better quality than “plain” bigger source, and more image than “plain” smaller source.

Q: When I should watch an experimental hybrid version?
A: The “experimental” term here is used for those hybrid versions that use “ambilight” corners; so, for the same reasons above, pluse if you can stand those corners filled with “imaginary” image - where an algorithm decides what parts of the surround image could be used to fill the empty corners.

Q: When I should watch an UAR version?
A: When you want to see as much image as possible - indeed, it is a composited image of two or more sources, often bringing the whole visible image close to what it was present in the negative film (or digital) frame; and you can stand VAR and stairsteps borders. Do note that UAR versions could have fullscreen, open matte or letterbox shots when two or three sources simply overlap perfectly, without more image on top/bottom/sides, or when one is it completely enclosed inside another, or in SFX shots that were filmed only in one AR; this doesn’t occur frequently, though. Also, you should expect any “tetris-like” image shape, in particular when three sources are used. In rare cases, you have one source “shift” from top to bottom (and vice versa) or left to right (and vice versa) to stay aligned with the other source. So, actually an UAR could contain pure UAR shots (stairsteps borders), shots with the same AR of the sources (letterbox, open matte, fullscreen), or hybrid shots.

Q: I don’t think I will like this kind of borders, and variable aspect ratio…
A: Is it possible, or course. But I’d give it a try, because our brain would be used to not notice it after few minutes, and then you could focus on the bigger image, where previously hidden details could be discovered now.

Q: What’s about props, mics, unfinished effects that could be now seen?
A: Albeit is it possible to spot them in theory, in practice (almost) all versions available don’t contain them; in an unfortunate event they do, it is care of the UAR maker to NOT include them!

Q: Wouldn’t be the “seams” between sources visible? And “slices” from sources with different quality? And what’s about sources with different color gradings?
A: Seams would be noticeable in few cases, in particular when a source has an high quality, like BD, and the other has low quality, like DTV; of course, there are various method to let them as unnoticeable as possible, like color grading and diffused noise. Also, final quality of the sources should be evened before overlapping, so needed noise reduction, deblocking, sharpening, grains should be applied; even higher quality source could be degraded a bit if needed to be closer to enhanced lower quality one. Different color gradings, and contrasts, should be matched as much as possible; even here we could find few shots where the difference between sources could be noticed, usually barely. Finally, a grain plate helps a lot to cover such eventual problems, and improves overall perceived details.

Further readings:
Hybrid & UAR projects list
Restoration tips: Overlap matching
Restoration tips: Axis-Aligned Polygon Aspect Ratio™ (a.k.a. UAR™)
Restoration tips: Soft+Open Matte™ (a.k.a. YAO™)
Frosty Borders - avisynth plugin
Inpaint - Wikipedia