could frames from this print be useful to 4K80?
I’ve capped the theatrical subtitles from the streaming version of Solo. For whatever reason, they’re not on the UHD or Blu Ray. Let me know if you’d like links.
is the Netflix stream in UHD?
has anyone taken a shot at rendering a preview of their regrade as a .gifv, so we can see what the color correction looks like in motion (without having to render a FHD oR UHD mp4 preview, etC)?
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:
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.
i wish the battle of jakku was on screen in the new trilogy. i hope it gets its own film or small screen adaptation
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
does this work for dolby digital/AC-3 streams from toslink?
so they didn’t re-comp very many effects shots in empire strikes back until preparing the 2004 DVD?
so a 35mm LPP print of the 1997 ESB SE would be a great source for a restoration project, yeah?
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.
i think a DNR + shot by shot regrade would be awesome. if it could approach the gamma, contrast and saturation of the GOUT or JSC i’d
Are there FLAC encodes of the laserdisc PCM audio synced to 4K83?
I’ll be sharing these soon over at thestarwarstrilogy.com. I just haven’t got around to it yet. 😃
Are there FLAC encodes of the laserdisc PCM audio synced to 4K83?
the first order hid out in the unknown regions and kidnapped children from many families on many planets, brainwashed them and bolstered their army. they’ll probably reiterate this point in non-book / non-video game format using the show. hopefully there’s new info.
would comparing spectral analyses of each channel from the cinema DTS track to the corresponding channel in the laserdisc AC-3 track be helpful to determining which ultimately has more information?
also, consider this an opportunity to become more computer savvy. hooray for knowledge, learning, etc.
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?
the clone war had thee lowest stakes for a fictional war
both expensive to produce, sure
but besides the jedi, there were few actual casualties
i could bid but i can’t store the print at home before it’d get cleaned, scanned, etc.
Jedi Master Skywalker said:
i meant to day it could be legacy not saying it is legacy
Legacy is great, but I’d be hoping for something sourced from better materials than release prints.
Anyway, no-one at Lucasfilm seems interested in the OUT, the merger with Fox would solve some distribution problems, but it doesn’t give any real change to the motivation of Disney/Lucasfilm to embark on an OUT restoration.
I hope that changes, but there seems zero interest within Disney to do it.
if they’d only hire you + mike + rob + dre + ohteedee + harmy to work with scans of negatives to rebuild the original films in 4k frame by frame, shot by shot, reel by reel…
the community will probably have to use whatever the next revamped/restored version they release to retail as a source for the next generation of preservation projects.
nice. they listened to the fans. though, this announcement demands that diehard clone wars fans cannot dislike the new season of clone wars. under any circumstances. it’s gotta be all fan-service, callbacks and expositional dialogue shoehorned into the plot of each episode.
“This particular print was struck in 1993, so unfortunately it has the censored song lyric at the beginning”
Would anyone here use a lossless rip of original pressing of the soundtrack CD with the uncensored “arabian nights” lyric? to SoX resample to 48khz and replace that portion in the title sequence?
Dunno how multi-channel separation would work with a TrueHD or DTS-HD surround track for that brief section, but since this release is just in stereo I figured its worth a shot for posterity.
[lt. maj. eyeroll said:]
the only reason why we aren’t restoring the original theatrical version of star wars is because it would take too much time and money. And we don’t want to spend the time and money to do it
a multi-billion dollar corporation short on money. wow.
anyone have a copy of restore24.avs? or restore24 revisited?
trying to convert this PAL telecine back to 23.976 and there are some blended fields even after QTGMC
Can someone with sources post a comparison of an uncropped frame of a lightsaber shot from 4k77 & the 35mm special edition?
ohteedee said on another forum that “Most FX shots have a smaller frame size than non FX shots.” (the post was regarding ROTJ specifically, but is a rather general statement)
I wonder if this is still true in the recomped 1997 versions of the same shots, and if the 97SE 35mm preservation wont need to be as cropped as 4k77, 83, etc.