digitalfreaknyc

JayArgonaut said:

digitalfreaknyc said:

Every DVD I bought back in the day did. I would say that the ones that compensated were far in the minority. Of course, now it’s extremely easy to work around. Then? Not so much.

There is a wealth of material, produced in the UK alone, that is not affected by this issue, hence me pointing out that not all PAL content suffers from this drawback.

Here’s a good post on the subject.

https://forum.dvdtalk.com/international-dvd-talk/550776-does-pal-speedup-bother-anyone-around-here-2.html#post9530425

Again, I would rather not deal with the problems of either TV standard. 😃

Perhaps further discussion of PAL vs NTSC would be better suited to a separate thread. None of this really helps SF01 with their project. Though of course, they can decide this. 😉

Well, of course things in the UK aren’t affected by it because they’re natively at that speed. So they’re out of the equation.

JayArgonaut said:

digitalfreaknyc said:

I’d rather deal with whatever problems NTSC has than ever listen to the pitchy sped-up mess of PAL.

Not all PAL material is affected by the speed up issue and with those that are, it can be easily worked around. I live in a formerly PAL broadcasting nation, my parents are from an NTSC region - I’d rather deal with neither of the problems with both standards.

Every DVD I bought back in the day did. I would say that the ones that compensated were far in the minority. Of course, now it’s extremely easy to work around. Then? Not so much.

SF01 said:

Williarob said:

SF01 said:

Williarob said:

The biggest problem I found with DV capture is that is uses 4:1:1 chroma subsampling which really reduces the picture quality.

In 4:1:1 chroma subsampling, the horizontal color resolution is quartered to reduce the bandwidth by half. In 4:2:2 chroma subsampling the two chroma components are sampled at half the sample rate of luma: the horizontal chroma resolution is halved. This reduces the bandwidth of an uncompressed video signal by one-third with little to no visual difference.

https://en.wikipedia.org/wiki/Chroma_subsampling

You are completely right about 4:1:1, but you might have missed one important detail. The ISD is PAL and I’m capturing in PAL and in PAL the chroma subsampling is 4:2:0, not 4:1:1, which looks light years better.

Oh, I didn’t know that it was 4:2:0 in PAL. That should look much better 😃 Carry on!

The whole existance of NTSC was the biggest mistake in history of television. Always problems…

I’d rather deal with whatever problems NTSC has than ever listen to the pitchy sped-up mess of PAL.

SpacemanDoug said:

Interestingly enough when the movie was on Netflix it used the original theatrical ending instead of the explosion ending. Forgot if it had these sequences intact though but most likely it did.

I’m guessing you didn’t read through this thread 😉

JawsTDS said:

I’d imagine that the Netflix stream would be AAC, which would be inferior to AC3, unless I’m mistaken.

Starting at 1:20, there’s a comparison between the Blu-ray and the German HDTV version, which contains the same footage found on the Goodtimes DVD.

https://www.youtube.com/watch?v=8iSZ0PTriHA&t=29s

Ahh. Ok. But it’s from the theatrical version. Sort of a Frankenstein edit.

I dunno what the encoding is on Netflix. I can check to see how the compression from the one I recorded stands up next to the ac3 from the Blu-ray ending

JawsTDS said:

I don’t, but I do have the 2003 Universal and 1999 GoodTimes discs. They are both AC-3 192KBPS, but they are faithful to the original mix, whereas the Blu-ray isn’t. The GoodTimes disc also has an extended sequence from the theatrical cut just before the shark’s demise. This sequence is not present on the Blu-ray or Unviersal DVD.

I would think the Netflix encode would be higher quality but thank you.

What do you mean about the extended sequence from the Goodtimes disc?

I’ve been working on this the last couple of days in my spare time and I have a problem. The mix in the blu-ray is awful. It’s just got a ton of reverb on it.

I’m going to have to try and get a copy of the Japanese laserdisc if I want a (mostly) digital lossless version of the soundtrack that’s not echoed to Hell to make a fake 5.1 track OR wait until it comes on Netflix again and capture a lossy version that way.

Anyone have that Japanese disc?

SilverWook said:

digitalfreaknyc said:

Stupid thread.

That’s really uncalled for. Nobody is forcing you to post in here.

See above…

Stupid thread.

Ronster said:

I know I read that, but it does not really confirm anything but…

“Dykstra made it sound like the Academy projectionist is the one that actually repaired the damage which allowed it to be shown again (which might also explain why it was a last minute announce/addition to the programming).”

If this was the case then it should be scanned and archived immediately.

Good idea. Someone here will get right on that. I’m sure the Academy will lend anyone this print that none of us knew about but has existed for 2 decades.

Yes…because, if there were ever a reliable source at this point, it’s TDB.

alexp120 said:

That doesn’t sound like the Fox Theatre has the 1977 version, yet.

So I take this with a grain of salt.

This is exactly what I thought…

Fang Zei said:

Did anyone make it?

If they showed Star Wars first, it would’ve ended a couple hours ago.

They showed it second…so that it makes sense

SD being the operative acronym/word.

hiphats said:

For those of you fans who want to see the original version of STAR WARS on the Big Screen, take note of this.

The original version as seen in 1977 will be screening at the historic Fox Theatre (now the Bob Hope Theatre) in Stockton, CA on Sunday, July 14, 2019. Doors will open at 1 PM Pacific time with the movie following at 2 PM Pacific time.

More information is at https://foxfriends.org/ . We hope you fans will plan to attend this historic event.

Where did this verbiage come from? It’s not on their official website

emanswfan said:

digitalfreaknyc said:

So…

A little birdie told me the 70mm print is from 1984 so it shouldn’t have the fade…but it is definitely the original film.

So I’m guessing that means no original crawl tho? And would the mix be the same as a 1977 70mm print, or a more refined mix closer to the mono?

That I wouldn’t know. You’d have to ask someone a bit more knowledgeable. But I just can’t believe they’re doing this…

So…

A little birdie told me the 70mm print is from 1984 so it shouldn’t have the fade…but it is definitely the original film.

SilverWook said:

Does the behind the scenes footage look restored to anyone else?

And a pro SE crank in the chat already…

We also missed out on the sizzle reel that ran beforehand… 😦

SWOTFAN25 said:

So the livestream is just covering the event and talks with the crew though right?

Yes. The screening is Saturday.

SWOTFAN25 said:

adywan said:

Live Streaming Event tonight:

https://youtu.be/2SKVhvSh3Og

Wow thank you Ady!

I can’t wait to watch.

Fang Zei said:

Kiri Hart still works for Lucasfilm as do at least some of the people in attendance, right?

Would this be the first sanctioned screening of the original version since before 1997?

I recall hearing a story once about how George himself was at a screening he thought was going to be the SE and it was still the original version and he appeared visibly uncomfortable about it. That was a story from some random person on the internet though, and I don’t remember now where I read it, so take it with a grain of salt.

There will be no one in attendance on Saturday. The event with the LFL employees is tomorrow.

SilverWook said:

I tend to agree. Didn’t James Cameron have to bug Fox just to strike a couple 70mm prints of Titanic, or pay for them himself?

That’s exactly what the research I did suggested. Titanic was really one of the last ones.

I’m very interested to see what this is and, potentially, what this means…

From what I’ve been able to find out, there was never a 70mm print for any of the 97 SE’s. They all had the DTS tracks and were 35mm only.

Fang Zei said:

So this is the original version, right?

I wonder how faded the 70mm print is and just when it was struck.

Yep.

And that’s one of the many questions right now…

MalàStrana said:

Marcia… Marcia formely Lucas ? Seriously, one of the best editors of her time is going to attend the double feature ? That’s awesome. And in 70mm glory !

(yeah there also is R1 scheduled but even if I don’t like it, its cinematography is among the best of the Saga)

(and I love Giacchino’s score)

Have fun Lucky ones !

https://www.oscars.org/events/galactic-innovations-star-wars-rogue-one

It will be streamed live!

Over the last 40 years, technology has advanced by leaps and bounds. But the impetus to create and inspire remains the same. This event will contrast the analog technologies developed for the first STAR WARS released in 1977 with the all-digital toolsets used to create ROGUE ONE released in 2016.

Key contributors from both STAR WARS and ROGUE ONE will share the journey of creating the impossible with their breakthrough visual effects. Our list of stellar participants includes: John Dykstra, Dennis Muren, John Knoll, Ben Burtt, Marcia Lucas, Bill George, Harrison Ellenshaw, Bruce Nicholson, Richard Edlund and Rachel Rose. Hosted by Kiri Hart, co-producer of ROGUE ONE, this event promises to be both inspiring and insightful.