Sign In


User Group
Trusted Members
Join date
Last activity

Post History

1997 Star Wars Special Edition 35mm Project

althor1138 said:

For clarification, what should a person try to sync this to? The blu-ray? In the past I synced my 97se laserdisc projects to capablemetal’s files which were synced to the dts discs.

poita said:
As for Syncing, I’d sync it to the DTS theatrical discs I’d guess.

There is another way.

Back in 2015, CapableMetal released on the ‘spleen x264 encodes of the SE 97 trilogy made from TB broadcasts along with his CinemaDTS sound mixes, in a DTS codec file, sync’d together. The x264 encodes are in 23.976fps and are among the best references for the Special Edition. For frame count, I’ve compared the encode with the Blu Ray (starting from the first frame of the SW logo-zoom-out through the final shot of the film where the medal ceremony shot makes an iris transition to the end credits) and I’ve discovered two shots with different frame amounts.

  1. The optical fade-to-black/fade-from-black shot made up of 3 separate shots
  • Luke and the droids enter the garage (3P0’s line: ”Why I should stick my neck out for you…”) where it fades to…
  • …a set of black frames where it fades to…
  • …3P0 being lowered into the oil bath.
    In that group of black frames sandwiched by the two shots, the SE97 has 8 black frames more than the BR
  1. The Han and Greedo laser-shot exchange (if you can call it that 😃). The SE97 version has 19 frames, while the BR has 8.

Both the encode and the Blu Ray have the same number of frames in all the remaining shots in the film (note that I’ve haven’t counted the length of the studio logos and the “long time ago…” display, all involve fades to/from black)

This is not to say that volunteers, here, who don’t have access to this x264 encode, shouldn’t use the Blu Ray as a reference to search for missing frames in the print-scan. You can. Just keep these two said shots with different frame counts in mind.

Denoise, Regrain And CC of ESB Grindhouse

Dreamaster said:

I’ve cleaned 4 minutes of film during the last week. Doing the math, that puts me at 10 months if I go at a slightly lower 3 minutes a week pace.

So next Novemember/December 2018… God willing… I’ll be back with something very cool. 😃

If that is the case, then may I ask you, again, to consider releasing your current work (v2) with the higher video bit rate, minus the multiple audio channels, to tide us over?

Those of us with bigger displays would like to experience the improvements that you’ve made in its full glory.

Furthermore, I’m sure there are experts here that can mux the multiple audio tracks with the higher bitrate video file and create a BD50 disc out of it.

THE SHINING - Complete Score!

IsanRido said:

Most of the cues can be found in various LP and CD releases from around the world, except for Penderecki’s “Kanon” (from Utrenja). The recording used in the film (by The National Warsaw Philharmonic Orchestra) was available in the old LP it seems, but sadly in abridged form. Anyone knows where such performance can be found in full?

Here is some info on what formats this specific performance, recorded in 1973, is available:
Album Title: Krzysztof Penderecki ‎– Jutrznia – Utrenja
Orchestra: Symphony Orchestra of the National Philharmonic, Warsaw (Orkiestra Symfoniczna Filharmonii Narodowej W Warszawie), Andrzej Markowski, conductor

2 –disc Vinyl LP set
Label: Muza SXL 0889-0890

Label: Polskie Nagrania/Muza PNCD 018

BTW: Please read PM

Denoise, Regrain And CC of ESB Grindhouse

jimbotron235 said:
The Fox logo and title cards suffer from very low bitrate. It’s as low as 2Mbps at some >moments, causing some macroblocking artifacts. The picture does get much much better, >especially when it gets to Hoth. Is there a reason the video bitrate is much lower than >version 1?

Dreamaster said:
V2 has all the Despecialized audio tracks, plus fitted for a 25gb blu ray. So the video encode is quite a bit smaller than version 1. Side by side I didn’t notice much of a difference though.


Would you consider re-releasing your corrected version of this project with a higher video bitrate?

This way, folks, here, can load in the audio streams of their choice and not sacrifice the quality of the video, thereby they can appreciate the changes that you’ve made to your work at a higher level. When they are burning the video to a disc, they can decide how much bitrate on the video, itself, to lose to suit their viewing taste.

Star Wars SE German Theatrical Trailers - 35mm Preservation

Thanks to RU08’s link to this thread, I was able to DL your scans of the trailers. My thanks to you for your time and effort in producing them. This slightly grainy quality will be my preferred viewing version.

I was able to sync schorman13’s work on the Theatrical DTS English audio of the trailers to your scans of the trailers. Now I can crack my home theater and watch these, right.

Hopefully the last 70mm vs. 35mm ESB audio differences thread

Just to give you a heads up:
I just uploaded a GOUT-sync’d version of this recording into the website of the human organ.

To address the missing 6 seconds of audio from the Wampa sequence…

morgands1 said:
…the audio of the Wampa cave fight - prior to Luke using the force to retrieve his light saber - is about five-and-three-quarters seconds shorter in 70mm than the 1985 and 1993 transfers,

morgands1 said:

Here is an MP3 comparison of the Wampa scene.

It begins with the scene from the 70mm in-theatre recording, followed by the 1985 BetaHifi tape. Then I put the two in sync - 70mm in right channel, 85 tape in left - which results in a nearly six-second gap.


…I just put silence over it.

I do realize that there has been speculation over the missing audio of the said sequence. Perhaps the cause of the speculation was the fact that the edit didn’t come with an anomaly, like a “pop” sound, as you would hear it on an optical track from a 35mm print. But, because this audio is from magnetic tracks of a 70mm print, and since no one from this thread…
… can recall any footage missing from this sequence, I’m going to go with TServo2049’s theory

TServo2049 said:

If some accident occurred and that section got boogered up, the projectionist might have had to cut it out just so they could continue running the print. 70mm was expensive, so it was probably a lot harder to get a replacement print, especially on short notice.

In other words: the film broke during a previous screening of this print and the projectionist was able to rejoin the broken ends together, even the magnetic tracks, so, that the audience didn’t hear the “pop” in the film splice.

As for the alternate edit of the Rebel Fleet sequence where these 3 GOUT SFX shots …

…didn’t exist at the time of the screening, I left those shots silent, too.

So, for the moment, this recording is the closet we’ll ever get to the first-released cut of ESB.

My thanks go to OT member morgands1 for capturing the audio and for making it available to us.

EDIT: I had a link of a video I’ve made of the said alternate ending with the In-Theater recording unedited, but I 've later found out that there are several videos of this scene out there on YouTube.

The Phantom Menace on 35mm

poita said:

Also if anyone has the DTS discs, drop me a line.

If I can ask you to be more specific. Do you need the actual discs or do you need the audio from the discs.

The ISO disc image of the Cinema DTS-CD ROMs from all the SW films, SE’97 and the prequels, can be found on the usenet circuit. I am sure there are people here that have the ISO disc image files and can extract the .AUD files from the discs to open the 6 channel audio files for sync’ing.

kk650's Star Wars Saga: Regraded and Semi-Specialized

KK650’s ESB Semi-Specialised Edition does include the theatrical Emperor courtesy of Adywan. See description:

kk650 presents: The Empire Strikes Back Semi-Specialised Edition

Technical Specs:

Name: The Empire Strikes Back Semi-Specialised Edition

Size: 15.4 GB

Video: 1920x824 H264 23.976

Audio Track: Uncompressed PCM track based of Belbucus’s 1993 PCM audio mix

Subtitle Track 1: English Subtitles

Subtitle Track 2: Spanish Subtitles

Like many, I was unhappy with a lot the changes that were made for the Special Editions and most recently the blu-rays.

Harmy’s Despecialised Editions are great for those that want to see the films exactly as they were when they were originally released theatrically, but some of the changes (especially the updating of special effects) actually make the films better IMHO, so I decided to make ‘Semi-Specialised’ editions of these films to remove what I considered the bad changes while keeping all the good changes/additions.

After working on and off on these three films for almost two years, the Star Wars Semi-Specialised original trilogy is finally finished.

I hope that you enjoy these releases as much as I enjoyed making them. Do please let me know whether you like this release and if not, feel free to say why. If you run into any problems, also let me know and i’ll see what I can do.

Below is a brief summary of the changes made to this film:

The Empire Strikes Back:

Audio changes:

The emperor’s original dialogue from the theatrical release has been restored

The original voice of Boba Fett from the theatrical release has been restored

Luke’s line ‘you’re lucky you don’t taste so good’ after R2D2 gets spat out has been restored

Darth Vader’s line ‘Bring me my shuttle’ has been restored

New lossless pcm audio track created to fit this semi-specialised edition, based off Belbucus’s excellent 1993 Empire Strikes Back PCM audio mix

Video Changes:

Regraded to remove blue tint running throughout the whole film that was introduced for the first time in the special edition DVD and was carried over to the blu-ray

The original emperor from the theatrical release has been returned (my thanks goes to Adywan for the original emperor footage taken from his Empire Strikes Back colour corrected ‘purist’ edition)

The digitally added sparks for the blu-ray in the scene where chewie is trying to get c3po from the dwarves have been removed

All extra shots of Darth Vader going back to the Executor and the arrival on the star destroyer that were not in the theatrical release have been removed so they do not interupt the escape of the millenium falcon

Lightsabers made more consistant so they are not constantly changing colour, Vader’s lightsaber is now red all the time rather than turning pink.

The latest, v2.6 in 22GB, is on the 'spleen.

Scofield version - SW theater recording

Just to give you a heads up: I just uploaded a GOUT-sync’d version of this recording to that website of the organ.

There are some silent patches in this version I’ve made and they exist for the following reasons:

  • The tape began recording at 30 seconds into the film
  • As the film was running, the tape had to be turned over, so, at the 01:00:53 mark, silence comes-up. This lasts for 16 seconds.
  • The release print that ran the film at that screening had missing frames, so I left silent patches in those areas. They occurred at…
    • The head-end of the first shot of Reel 3 (where Luke, Ben and the droids are at the sandcrawler’s torched remains): the start of the trumpet solo from the music is missing. Scofield A (00:38:24), GOUT (00:38:44)
    • The head-end of the first shot of Reel 6: The announcement’s line,”… to your stations” is heard instead of “all pilots to your stations.” Scofield B (00:17:49), GOUT (01:40:08)

I purposely didn’t patch-up those silent areas. I know that members, here, will be studying the sound-mix of this version and I didn’t want to distort the content of this recording by using sound from other home video editions or even use bits from the recording to cover the silent patches up.

Besides, I’d be a real rat if I took away the pleasure of having y’all work on replacing the missing audio.

Just so that you won’t be twiddling your thumbs in-between silent breaks, I’ve made a no-frills .srt file that displays captions and a countdown clock

If there is no sound and no message, then the sound will return in no more than two seconds. This would be for the frames missing from the release print and other audible interruptions from the recording that I left in.

In all, there are 4 silent patches in my audio file.

The challenge was in the sync’ing. The recording on the 2 audio files had different durations changing every 1 to 3 minutes. In other words: if I sync’d a part of the Scofield file to the GOUT, it would stay in sync for about 1 to 3 minutes, then the file would drift out of sync—sometimes the audio would be faster in duration or slower. In the end, I had to create multiple copies of the same audio file with different durations for each file, all in the same pitch as the original file. I had to select one Scofield audio file, sync it to the GOUT, find the point in the audio where it drifts out of sync and trim it, select another Scofield file of a different duration, sync’d that to another part of the GOUT, find the point of drifting and trim it, join that with the other portion of the file with the different duration, select another Scofield file, and so on. The tedious part is searching for the right duration of the file to fit the pieces of the GOUT.

Other than up-converting the 44.1k sampling rate on the original recording to a sampling rate of 48K (for adding this to a Blu Ray), and the said time-stretching/shrinking of that same audio file, no EQing has been applied to my audio file.

Isolating Music and Voices in Star Wars

Another suggestion:

Make a collection of audio files featuring the extracted Leia Hologram speech that contains parts of the speech that are clean and parts where there is still music leakage. These groups of audio files would be made up from several music mixes from either the CD or film, whether it be just the left channel, just the right channel, the sum of the left and the right, just the rear channel, the sum of the left, right, and rear, etc. You are basically throwing every music mix in any combination and seeing how much clean parts you can get.

Hopefully each extracted audio file will have clean parts of the dialog but not in the same places. Go to each audio file, select the clean parts, put them all in a separate blank audio file and edit them together into one clean audio file.

If after you do all that and you still have portions of the speech with music leakage, then listen to each portion and see what music instrument(s) is heard predominantly. Make up a music mix where that instrument is heard at that high level or try EQing.

Isolating Music and Voices in Star Wars


In case you are still in search for a better quality of the Leia hologram dialogue, have you tried to use the one from “The Story of Star Wars” LP. The sound on the LP is mixed directly to 2 channel, no matrix-surround encoding, and you can try using the 2 channel music mix of the variety of LP releases. I would start with the music LP presentation that came out on CD from the Polydor label and work your way up.

EDIT: A correction:
The music over the Leia hologram at the Lars garage was available commercially in 1977, however, the music over the Leia hologram at Obi-Wan’s home would begin to be available in 1997 by RCA Victor and later Sony.

Media player recommendations?

This is the media player I used, KDLinks HD720

In addition to playing MKV files with DTS tracks, it will play Blu Ray ISO disc image files—2D and 3D—complete with menus. It will play 1080p 3D MKV, also known as MVC, but since these files don’t have a flag to tell the player to switch to 3D, you would have to manually set the player by selecting to Top/Bottom option in the 3D menu.

I’ve not used the subtitle function, but one owner of the project posted this on Amazon.
“The player also has a great subtitle feature. If the subs are either a separate .srt file, or if they are embedded meta data in an mkv file we can adjust the position, font size and color of the subtitles. My eyes are bad, so I’m delighted to have large yellow subtitles for the Asian films and anime that I enjoy.”

I’ve used this unit for three years, now. The only thing is that when you turn it off, press and hold the on/off button and wait for the light on the button to change from blue to red. If you pull the plug out when the unit is on, you’ll risk shorting the unit. Although the LED lights will turn on and the on/off button will light blue, the machine will not operate. I found that out the hard way.

I don’t have an answer for the 4:2:2 output.

…otherwise it is a good unit…and, now, for $160

For the Blu Ray ISO function, this can be useful for testing a Blu Ray ISO that you’ve created before burning.

ISO file to USB flashdrive?

If you don’t have a Blu Ray player, you can use your computer to play the Blu Ray ISO.

You would have to “mount” the ISO file, make that file into a virtual (disc) drive. If you have Windows 8 or higher, you can simply right-click on the mouse, and select “Mount.” Otherwise, you would have to download a free third-party software, like Virtual Clone Drive, and do the same thing. Either method you use, you can access the m2ts files—play, copy, etc. To un ”mount” the file, right-click the mouse and select, “Eject.”

If your computer has a HDMI output port, you can play the ISO through your computer and send the signal to your TV.

TITANIC 35mm Preservation!

To those of you in the east coast of the USA who are interested, there is a “free” 35mm screening of the film at New York City’s School of the Visual Arts Theatre.
Time: Sat, September 16, 2017, 7:30 PM – 11:30 PM EDT

As part of After School Special: The 2017 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special free 20th anniversary screening of the Academy Award-winning blockbuster, Titanic (1997), followed by a Q&A with the film’s Oscar-winning sound mixer, Mark Ulano (1975 Film and Video). The movie will be screened on 35mm film.

Synopsis: A seventeen-year-old aristocrat falls in love with a kind but poor artist aboard the luxurious, ill-fated R.M.S. Titanic.

Titanic is rated PG-13, and some material may be inappropriate for children under the age of 13. Children under the age of 5 will not be admitted.

… And come early to enjoy virtual reality and music video experiences in the lobby.

Ticket Information

All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.

If you would like to attend this event, but require assistive devices and/or accommodations, please email or call 212-592-2980 at least one week prior.

Concessions Information

A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.

Please contact with questions. Guests subject to change.

From the look of it, the theatre doesn’t look bad