frank678

Awesome find!

The colours look like they could be really nice and intact on this.

However if this is going to be a real great preservation can I make a plea for it picking up a classier nickname to PornShopBoot before that sticks !!! I suppose PSB would work but perhaps you could come up with a name AntcuFaalb

Asaki said:

.. but that seems like a lot of work for something that will (hopefully) be obsolete before the year is over.

msycamore said:

I'm not going to recapture it, because the results wouldn't be any different with the player or combfilter available to me, but like I've said before I'm going to upload a 2nd much improved version from my original capture as I know it can look so much better than what the current DVD does.

Apologies for saying 'recapture', what my brain accuractely meant was "re post-processed version". Since you had talked about this with the raw captures in another thread I hope this was o.k. to bring up.

Hope this works. This is summing captures to produce the biggest range/depth I'm guessing?

The idea I had about how to use a still to recolour a scene was getting the values of a reference still then finding that still within a whole scene getting those values and setting them as a zero point then recording how the numbers shifted across the scene. Then plug in the reference numbers from the reference still into the zero point and then apply back the pattern shift with the new numbers. If both source and destination are scaled to match and its all just numbers then would this work? You could get the whole body from one cell!!!???

AntcuFaalb said:

frank678 said:

What is/how does ColourLike work?

Click Here

After experimenting with ColourLike() using the Technidisc and the GOUT, I've decided that it doesn't work well enough; e.g., GOUT w/ Technidisc colors has weird patches of what are best described as murky rainbows.

Do you have to have 2 complete films to do this. Can you use the values of a still and apply it to a whole scene?

Also it's possible myscamore might be willing to recapture the Technidisc if you can see a way forward with it that you can't get now, etc. I'm interested to see what you arrive at anyway whatever version you work on, some of these versions look so bad in places practically anything is an improvement!

Jetrell Fo said:

My point being that the final outcome is something we all work towards and look forward to in a community and at the end of the day, the pissing contests are obtrusive and affect no positive progress.

:)

This is not directed to anyone, but out to the universe= I'll all for people trying to best each others versions - just don't piss the other person off enough to make them stop working on theirs, Theres handfuls of abandoned projects when you look back through the threads (and those were ones that got positive feedback and encouragement). More projects, more versions!

What is/how does ColourLike work?

AntcuFaalb said:

 

Thanks for the information.

Do you know if anything was changed for the 1982 LaserDisc release? Does that release have any specific problems (besides being fullscreen)?

I should say anything I write is not based on years of reserch but quick appraisals/ speculative ideas /guessing. My subjective impression is the Starkiller 1982 Laserdisc preservation is the least red/pink shift effected commercial version I've seen. But it seems to have a yellow/green shift sometimes (in parts of the Cantina scene for example). But it doesnt have much information/bit depth and has been tweaked to fit the old style tv displays over-brightened etc. To me the highest up the chain of unfaded sources would be the Technicolor Screening stills/clips, the blu-ray deleted scenes, The pre-anh bootleg telecine, and the catnap 16mm (although the last two would have more layers of distortion because of how they were captured).

Again this is just my impression

LexX said:

You_Too said:

I don't know about ESB and ROTJ, but I can tell you that in any version of SW the colors are inconsistent, and they've been confirmed to have been like that on some original prints as well.

But is the GOUT inconsistent because the film originally was or is it because it is GOUT?

It says here http://savestarwars.com/filmpreservation.html the original 1970s film stocks were unstable. Mike Verta talks about element damage here http://originaltrilogy.com/forum/topic.cfm/Color-correcting-the-Blu-Rays/post/548757/#TopicPost548757

and said on his forum that the colour seperations are missing elements.

So the original prints from the negative would be more consistent and then its been degrading organically since then. There might be a consitent linear pattern to a print fade (e.g. it gets pink, more pink, very pink, red) but it would be linear relative to the start and subsequent conditions being identical. If theres 4 different stocks within the film the fade couldnt fade in linear way across the whole film but only on the individual stock in linear conditions?

An ambitious person could start a thread and try to post up screengrabs of a still from every version of the film available and try and track fade patterns - however specific versions would have additional variations added in by the settings the transfer was done through and additional colour corrections added in (to either reverse colour loss/or for aesthetic reasons).

This is my understanding of the subject to date anyway.

My speculative idea is that the GOUT print is from the same source as the Technidisc print thats been through a cleaning solution (?) or printed on a different stock? which stabilizes the excess colour fluctuations-saturations of the Technidisc but the GOUT has not been colour corrected. The Technidisc has not been colour corrected. The special editions and the widescreen editions immediately prior to Technidisc seem all to have been tinted blue to dye-down the pink/red (not the JSC which I think is also not corrected). The special editions also have additional scene by scene corrections? This is all speculative and would welcome correction on this.

AntcuFaalb said:

Hmmm... you're probably right. I wonder if they're more consistent than what's on the SWE Technidisc.

Have a look at this: http://originaltrilogy.com/forum/topic.cfm/STAR-WARS-Special-Widescreen-Edition-Technidisc/post/572569/#TopicPost572569

It looks like they are from the same source but the GOUT has been processed differently

AntcuFaalb said:

I know the colors in GOUT are bad, but are they consistent?

If you mean are the colours faded or distorted in a consistent way, my take is that due to the organic nature of the medium (film) then probably not. Take a look at this clip and see how the skin tone jumps around between 2.40 - 2.44.

http://www.youtube.com/watch?v=7VLroz4DUJY

THIS IS AWESOME NEWS !!!!!!!

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or the ship interiors were not just big slabs of undifferentiated grey:

msycamore said:

. These transfers really have every video-flaw in the book, Empire is hands down the single worst video transfer I have ever seen of a major motion picture.

 

Your fix definitely makes the lights sit better and make the image much righter to look at for the eye/brain - except its a shame what your working with looks so bad to begin with. To me its the same faded red-shifted print business where everything takes on a pink/grey flatness. I remember in my head the lights in the backgroud of the Luke/Vader duel were so much more bright and colourful suggesting a whole city at night =

PUGGO 8mm

Having now for the first time ever in the last few months taken the time to see how different the same image can look through different sets up (Before I had the vague idea that they all met in the middle somewhere or something): I'm going to say maybe the Pioneer disc didn't look as bad at Pioneer USA H.Q.

However I was around in the eighties and remember a lot of us went crazy for neon.

I was wondering if the aspect ratio might be off ever so slightly at the beginning of this source tape. The image seems just a fraction too tall at the start? or my imagination?

edit: thanks TServo2049 for info above on 1990 and 1992 vhs tapes -except another dead end for a different transfer! I don't know if this has been answered elsewhere but would all sources for vhs releases worldwide be based on primarily on the US or UK source? 

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