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Star Wars Prequels 35mm 4K Filmized Editions by Emanswfan

emanswfan said:

And interestingly they make it sounds as if AOTC and ROTS are going to be native 4k masters instead of an upscale of the existing 2k DI’s. Of course the footage was shot at only 2k, but re-rendering the cgi and redoing the compositing would bring about a lot of improvement.

this is exactly what i hope they’re doing. even for the CGI effects in phantom menace.

emanswfan said:

Also for the love of god, I hope they bring back the grain or redo the denoising for TPM. I’ve seen some extremely impressive denoising over at the 4K77 forum on SW and ROTJ, so I know you can denoise without making everything look waxy.

if they use the same 2k master they used for the blu-ray without applying any DVNR at the end, that’d be great, too.

The Last Jedi - Isolated Score

schorman13 said:

a_o said:

for some reason the movies anywhere version doesn’t sync with much of the soundtrack cd or ‘for your consideration’ mp3s in pluraleyes. i suppose one could do it manually. the score-only file i found is just 96k aac.

That’s the unencrypted version you can rip from the movies anywhere website. It’s also available through iTunes and through the movies anywhere Roku app with a higher bit rate of, iirc, 160k. The trouble is that it’s encrypted, so one would need to capture the decoded output, much akin to capturing laserdisc PCM audio. In addition to that, it’s also available in 5.1 through iTunes, which, again, can be captured/ripped in the same manner as LD ac3 using an AppleTV.

i tried that once but i don’t think the output recording of the ac3 stream could be decoded. if it could i didn’t have the software to do it, or i didn’t record it correctly over toslink in the first place.

Project 4K80

Dek Rollins said:

Bluto said:

Thanks for the info, Dek - I hadn’t come across this before. What software would allow you to apply this LUT to the Grindhouse ISO in order for the output to be another Blu-ray-compatible ISO?


If you have a video editor there should be some sort of plugin available to apply LUTs. I honestly don’t remember how the Grindhouse ISO was packaged, but if you don’t care about menus, putting it through tsmuxer has a BD ISO option.

a_o said:

Dek Rollins said:

^This might be of interest to you. I prefer NeverarGreat’s LUT applied to the Grindhouse over any other version of Empire right now.

has someone applied this LUT to the film & shared?

Not to my knowledge. I can look into getting my file uploaded if you guys want it (24.8 GB).

i’m applying the LUT to my copy of the grindhouse overnight tonight to see how it looks on my TV. just a few hours left.

Harmy's STAR WARS Despecialized Edition HD - V2.7 MKV IS OUT NOW

Daxtreme said:

So with the new acquisition of Fox by Disney, they now 100% own the distribution rights to the OT right? As in, they can do whatever they want?

Do you think there’s a chance they announce the release of the unaltered OT at Star Wars Celebration?

they could double dip (or triple dip, or quaruple dip, whichever nth dip we’re on at this point) and wait til episode IX comes to digital/UHD/etc next spring and complete the entire saga

or they could release the original trilogy and prequels on UHD this summer or thanksgiving in the leadup to IX.

they may not do anything because disney+. also kathleen kennedy said they’re not touching the first six films at all. (though they have all the necessary assets to un-touch them.)

4k77 released

JonathanArthur19 said:

How did they make the Isolated Score, I’d like to know how they made it, if it’s no trouble explaining it

this post is from a much older thread:

hairy_hen said:

For anybody who’s interested, I’m making an isolated score for the first movie using the 2-CD set.  I’d been thinking of doing this for a while, but now that I’m more comfortable with using Pro Tools for editing and mixing purposes, I decided to go ahead with it.

The 2-CD release is the only complete presentation of the score and therefore must be used for any project of this type, but unfortunately it sounds shrill and harsh, due to the broadly excessive elevation of the high frequencies compared to how the music actually sounds in the movie.  To combat this, I spent some time dialing in an EQ curve that would more closely match it to the 1993 mix, which comes from the original 70mm version and should be considered the most accurate tonal reference.  The result is hardly exact, of course, considering how different the two sources are to begin with, but I was surprised by how close the final result actually comes.  (The CD is also somewhat peak-limited and shows occasional distortion, but there isn’t anything I can do about that.)

Before starting I read a lot about different equalizers in an attempt to find that mythical perfect tool that would give the best sound and turn all my work to gold, but eventually realized there was nothing any of them could do that the default parametric EQ in Pro Tools couldn’t match, and with considerably greater flexibility and ease of use.  After all it isn’t the tools that matter so much as the technique, and what is appropriate for the task at hand.  Now obviously if I had a $10,000 analogue unit like Steve Hoffman, I’d be using that instead of any digital imitation, but all that really matters is that the process is transparent and doesn’t colour the sound for the worse.  At any rate I’m following the advice of he and other respected audio engineers in using equalization only for cutting frequencies away from a sound—think of it as ‘sculpting’, if you like—and not for boosting.

Conversion of the audio from 16/44.1 to 24/48 was performed with the iZotope SRC before importing, and Pro Tools handles its internal calculations at 32-bit floating point resolution.  The final result will be converted back to 16 bits with iZotope’s MBit+ dither.  Since the source is a CD, there isn’t actually any more detail than this to begin with; processing at higher resolution simply gives greater precision in rendering, and dithering allows for high quality to be retained when reducing bit depth.

The broad nature of the treble reduction means that the tape hiss is unavoidably lowered along with it, so to compensate I used a signal generator (along with another EQ) to add low level white noise back into the music, in order to maintain the proper analogue vibe.  (This can be considered the aural equivalent of the simulated film grain added to the effects shots in the Despecialized Edition to replicate the look of the optical compositing.)  A noise gate allows the hiss to trigger with the start of each track and fade away at the end.  Since the entire set shows equal shrillness, the same EQ settings should work well for every cue.

In synching up the tracks, I was surprised by how many edits there are in the music that I’d never noticed while watching the movie.  Matching them requires patience and attention to detail, but I haven’t attempted to replicate every cut exactly.  A film soundtrack can sometimes get away with clunky editing, since the dialogue and sound effects can be used to obscure the transitions, but in a music-only presentation I think it important that the edits make sense from a listening perspective.  Therefore I am attempting to allow each track to sound continuous and not ‘cut up’, where possible.  Occasionally the synch may be off by a small amount, but hopefully this will be unnoticeable.

Now that I’ve got the music sounding just the way it should (within the limitations of the admittedly flawed source, that is), finishing is just a matter of synching and editing the remaining tracks.  Since I’ve got my finals coming, this will probably take me longer than it otherwise would, but I’ll have it ready as soon as I can.  For now, here’s a preview in the form of a comparison between three versions of the main title, as heard in the 70mm mix, the harsh and unpleasant CD, and my EQ’d version.  All three have been level-matched to remove any bias based on their perceived loudness; the file is an mp3 so that the download size isn’t too large, but encoded with maximum bitrate/quality settings.  The actual release will of course be lossless.

What SE changes (if any) did people like?

i’d be fine with them completely re-rendering and re-compositing all of the digital effects in the prequels in 4K, crawl to credits, while merely upscaling the 2k digital live-action footage for episodes 2 and 3.

also, making the lightsabers look more like they do in the sequel trilogy. i’d have no problem with them doing that.

i’m really just imagining them doing all of this with better graphics processing and faster rendering in 2019/2020

4K versions vs. DEED

4K77 and 4K83 have despecialized 2.7/2.5 beat, for now.

i prefer the DNR version of 4K77 and hope there’ll be a similar release of 4K83 if someone else has the a lossless version to create it with.

i think the 1080p despecialized edition should be free of SD or upscaled sources. that and the most dynamic color grade, and appropriate brightness/contrast for home viewing. (i really like neverar’s technicolor regrade of ANH) i’d like them to look as close to what a proper home video release for truly classic films should look.

STAR WARS but every shot comes from a random source

Chewielewis said:

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

something like this?