negative1

lpd said:

Hey Neg, will the final product be 24 fps or 23.976?

I've noticed anything I've encoded at 23.976 my  (panasonic) Blu Ray player converts it to 60hz, its only discs at encoded at 24 it seems to play at 24.

we're working at 24fps i think.

i've gotten different test files for it.

so i'll make sure... especially for the

DVD version...which might be 23.976..

later

-1

althor1138 said:

Great job.  I'd say it's definitely an improvement. 

Here's your latest method with a couple extra steps for the other 2 channels. The saturation is over the top just to give a better idea of what's happening.

EDIT: Just to be clear the first image is unsaturated.  The bottom 2 contain the same saturation tweak.

source=avisource()
rgb= source.Tweak(cont=1.1, sat=1.1).ConvertToRGB24(matrix="Rec601")
fixr=source.Overlay(rgb.BlankClip(color=$FFFF00 ), mask=rgb.ShowRed(), opacity=0.1, mode="lighten")
fixg=fixr.overlay(rgb.blankclip(color=$00ffff),mask=rgb.showgreen(),opacity=0.15,mode="chroma")
fixb=fixg.overlay(rgb.blankclip(color=$ff00ff),mask=rgb.showblue(),opacity=0.15,mode="chroma")
test=source.tweak(sat=2)
comp=stackhorizontal(source.subtitle("original",x=-1),fixb.tweak(sat=2).subtitle("adjusted",x=-1),test.subtitle("original (saturated)",x=-1))
comp

looks pretty good to me..

later

-1

jero32 said:

-1 Can I ask how you capture this audio? Are you just recording off a projection set up...or is there some other way? (optical scans?)

Also since I doubt the film doesnt have any sort of stretching, how do you plan on precisely matching it to the film footage?

answer here:

-----------------

http://originaltrilogy.com/forum/topic.cfm/negative1-star-wars-1977-35mm-theatrical-version-release-details-and-updates/post/598977/#TopicPost598977

later

-1

there was  a question about sound conversion/transfer,

---------------------------------------

http://originaltrilogy.com/forum/topic.cfm/The-Mono-Mix-Restoration-Project/post/593170/#TopicPost593170

here is the information from cinch:

======

somebody asked how we get the sound off the prints (this was in the mono thread, you said that i'd get some more detailed info).

i'm using red led reverse scan heads, no processing whatsoever, recording at 48k/16bit/channel. then the speed gets adjusted for video (original is 24f/s, governor controlled), clicks and pops removed without cutting into the signal. if necessary, very light hiss reduction, as long as the signal doesn't get degraded.

-----------------------------

later

-1

Puggo - Jar Jar's Yoda said:

I do consider the non-anamorphic format to be a bug.  Why?  Because industry standard at the time was to release widescreen movies anamorphically. It shouldn't have been necessary to state that it was anamorphic; a reasonable presumption is that it would be.  It's also the first thing that fan edits correct when using GOUT as a base - something LFL should have done from the start. So it is obviously for all practical purposes a bug that should have, and could at zero cost have been, fixed.

i also think it's not an issue.

just because people's expectations are implied,

doesn't mean anyone is obligated to 'assume' that

 a process or product will be done to suit their needs.

is it really a zero cost issue? if the transfer

wasn't done that way originally, wouldn't

they have had to do another one?

If a DVD of Wizard of Oz came out and it turned out to be black and white, would it not be a mistake because the label didn't say "in color"?  No, certain things are just presumed.  

Perhaps if the disc included the label - "disclaimer: outdated crappy non-anamorphic f-ed up transfer", then there wouldn't be any bugs!

don't all movies state what formats and technical

specs they are on the back?

couldn't you tell just by looking?

studios have re-issued and re-released dvd's due to

mastering errors (back to the future - improper cropping, etc)..

i'm still not really sure why people were complaining at

the time. all i had to compare them to was a laserdisc

version. and the dvd's were superior in ease, and access

compared to those on standard def tv.

i was VERY happy with the GOUT. (well at

least until i came to OT.com) ha ha

later

-1

issues with color spaces in HD vs SD

----------------------------------------------

good article here:

============

http://www.glennchan.info/articles/technical/hd-versus-sd-color-space/hd-versus-sd-color-space.htm

some good points:

=============

There is no single HD or SD color space as they are actually many different HD and SD color spaces. We'll begin by looking at the two most common video standards in use today- ITU-R BT. Rec. 601 and Rec. 709- as the most common HD and SD formats derive from them. The two main differences between the Rec. 601 and Rec. 709 standards are [A] the luma coefficients (and corresponding scale factors) and [B] the primaries.

In practice, the difference is subtle and is usually not noticed. This is partly because:

• We aren't very sensitive to (small) color inaccuracies. This is especially so when there is no side-by-side comparison.
• Real world images tend not to contain highly saturated colors (a random distribution of R'G'B' values would contain much more highly saturated colors). These errors are strongest for highly saturated colors.
• Most film and video material do not contain large patches of color, which make it easier to discriminate between colors.
• In consumer applications, consumer TVs tend to be (wildly) color inaccurate to begin with.

When the NTSC standards were developed, the designers envisioned a wide gamut system where the primaries are much more saturated/pure than what we have now. The more saturated primaries allow a greater range of highly saturated colors to be reproduced. It is theoretically ideal to make the primaries as saturated/pure as possible so that the widest range of colors can be reproduced.

One downside to wide gamut systems is that overall luminance of the display is lower. Luminance can be increased by making the primaries less saturated. For this reason, consumer TV manufacturers ignored the NTSC standard in order to make displays brighter. Early consumer TVs were fairly dim so this might have been a reasonable compromise.

Later on, SMPTE created the "SMPTE C" standard realizing that there needed to be a production standard. These primaries were derived from the Conrac CRT monitors that were commonly used for reference monitoring at the time. Eventually after that, the EBU created their own standard to reflect changes in CRT phosphors. The EBU primaries are the standard for PAL countries and Japan.

================

later

-1

see you auntie said:

I don't think it's close to an ad for cameras, it seemed balanced to me. Considering film cameras are no longer produced you have to buy digital and I think all the big companies got equal face time.

i wouldn't have minded it once or twice,

but it was pretty constant at the end.

And Keanu is pretty great, say what you will about his acting, I've always liked him and he's great in this, a really affable guy. Really passionate about film, knowledgeable and really interested in the changing climate in the industry.

like i said, i didn't mind him in this,

since he wasn't really acting

I didn't really want to bring up Lucas but the fact that he surrounds himself with concept art, story boards and monitors like he's self promoting is such a douchey move. And you can see it's not just the room he was in, it was set up that way for the interview, while every other filmmaker is just sitting in a nondescript room.

It's like he has to promote Star Wars at every opportunity and always portray the aura of this creative genius and grand visionary. "OK Keanu I'll do your documentary, but only if I can remind the world I'm the genius that created Star Wars, might sell a few more blu-rays"

i didn't get that at all.

what else would he be talking about?

the point was, he went all digital, and

was one of the forerunners of the technology..

they need a pro-digital voice, and he was definitely

an advocate of it..

the fact that other directors weren't in similar surroundings

was because they're not in that position... would cameron

have been surrounded by avatar figures and storyboards?

later

-1

another super wide laptop reviewed,

as mentioned earlier:

===============

http://originaltrilogy.com/forum/topic.cfm/hdtv-superwidescreen-phillips-21-9-2-35-1-tv/post/580103/#TopicPost580103

the review:

============================

http://arstechnica.com/gadgets/2012/09/putting-the-wide-in-widescreen-the-toshiba-satellite-u845w-reviewed/

later

-1

Asaki said:

negative1 said:

nowhere in there did i see anything about anamorphic transfers

or anything else like that..

 I know news of it came out before the DVDs did, I remember a lot of angry (p)reviews at Amazon, telling George to fix it before release.

do you have any links?

later

-1

none said:

and the official:http://www.supershadow.com/starwars/dvd.html

Supershadow's track record is no where close to official.

right, of course.

i'm referring to the press release.

that's the first thing that came up.

is there one on a lucasfilm site, or starwars.com?

tfn.net?

later

-1

jero32 said:

Did you figure out how to solve the audio "problem" yet?
Since the reels lack english audio.

it shouldn't be too hard for cinch.

he's got a plan.

although, i'm not going to be there for his viewing.

but maybe we'll try to run some tests when

i have mine.. probably just sync some cd's

to the reels, and play those instead...

for the partial reel screening, we'll just be

playing them off film, since those are in

english..

later

-1

by the way..

if you can't hook up or move a computer near

your tv..

borrow a laptop, and use that with the hardware

or software, such as color spyder 2/4, they do

have a product just for TV's

=================================

http://www.manifest-tech.com/ce_photo/calib_colorvision.htm

Spyder TV is targeted to the much broader market, "motivated consumers, enthusiasts" for optimizing their televisions. "It's very simple to use," says Levey, "very affordable." The challenge for ColorVision was not only to simply the calibration process, but also to find a common ground among the variety of controls and options on different displays. The solution was to base the process only on the key display controls found on almost all displays: Brightness, Contrast, Color, Tint, and Color Temperature presets.

"We use the controls built in by the manufacturers," says Levey, "and tell you precisely where to set those settings to get the absolutely best picture that you can. Increase the contrast ratio, give you good shadow detail, to allow you to see the image as close to what the director's intent was when he was standing over the shoulder of his editor looking at a NTSC calibrated monitor."

The Spyder TV product will include the same Spyder 2 colorimeter hardware that is used with other ColorVision products. (So called because the device is reminiscent of a spider hanging over your display, with three arms to position the sensors flat against the surface, and the USB cable running up and over the back of the display with a counterweight to hold it in position.) You position the Spyder near the center of the display, and connect it to a laptop computer to run the calibration software. The product will also include a DVD test disc with test patterns and sample images to review the calibration results.

later

-1

there's good discussion here about colorspaces,

and hardware:

====================================

http://www.dvinfo.net/forum/view-video-display-hardware-software/497333-color-correcting-monitor.html

here's a discussion of some of the color calibration

tools i've mentioned (although it's 2 years old),

it still has a lot of pertinent information in it.

especially the comparisons of the tools:

============================

http://www.drycreekphoto.com/Learn/monitor_calibration_tools.htm

Which product should I purchase?

On high quality monitors, ColorEyes Display gives the best balance of accuracy, smooth tonality, shadow resolution, and calibration flexibility. Using the software effectively takes careful reading of the user's manual. This is made more difficult because the installation program does not copy the help file to your computer. There is also no on-line help except for a few prompts which may or may not have anything to do with what is shown on-screen. ColorEyes offers automatic DDC control over the hardware settings for selected monitors. Once you have mastered its quirks, the calibration and profiling of good quality monitors is simply superb.

Getting the most out of ColorEyes Display requires either using the bundled version with the Monaco XR/X-Rite DTP-94 puck or the GretagMacbeth Eye-One 2. Although the software supports older measurement hardware (e.g. Sequel Squid, Eye-One Display One), the profile quality can not compare.

You can not go wrong with the Monaco Optix XR Pro. It matches well with most monitors, and offers useful data analysis and trending capabilities. If you do not need display matching, performance trending, and other workgroup features, the added cost of the Pro package is significant. Unfortunately, the base version with its reduced feature set is not competitive.

The GretagMacbeth Eye-One Display 2 is a good performer. Overall color performance is excellent. The calibration options are not as extensive as those of the Optix XR or Spyder2. If your monitor is DDC-enabled, the Eye-One Match 3 software performs the necessary monitor adjustments automatically (Mac only for now - Windows capability is "coming soon"). The fast speed, particularly on CRT monitors, makes for quick and painless calibration and profiling.

The ColorVision Spyder2 is a mixed performer. The limitation is in how highlights are handled. If your photography requires excellent shadow response or superb B&W performance, the Spyder2 is ideal. The included software offers the most flexibility of any of the recommended systems. Wedding photographers, or others needing to see delicate highlight details will do better with one of the above systems.

later

-1

Asaki said:

negative1 said:

if there was gate weave in the original

why wouldn't it be there?

 It wasn't in the original though, it's just in the GOUT masters...or they screwed something up while mastering it to DVD.

Either way, if you haven't seen the GOUT before G-Force got a hold of it, basically the picture shakes left and right by a couple of pixels the whole time. All three movies.

 

actually i did notice that, but again, thought it was part of the movie

because most of the time its not really noticeable (well at least to

me anyways!)

 

negative1 said:

overall, those don't seem like bugs to me...

That's why I used the quotation marks ;) As was stated in the original post: "The definition of a bug in this context is left intentionally open.", so we're including other mistakes, flaws, etc., and intentional flaws.

 

yeah, i know... but how is it a 'flaw' then?

i've been trying to find the original press releases

for them.. (i just bought the special edition on DVD

when it came, and was overjoyed with the set)..

i didn't know about the limited edition with the originals

until much later...(and after i got them, then i found OT.com)

===========================

http://www.prillaman.net/starwarsdvdnews.html

The Digital Bits has confirmed today that the transfers being used on the original theatrical discs will be the 1993 masters created for the "Definitive Edition" LaserDiscs. There will apparently be some digital clean-up, and the transfers will be better than the ones generated by bootleggers using the DE LaserDiscs (although it will be interesting to see how close some of the most resourceful bootleggers got to what will be on these discs).

Bill Hunt posted a lengthy rant this morning about the subject. He posited two theories as to why Lucas would choose to recycle a 13-year-old transfer. One theory is that they simply aren't going to spend the money to track down a good print and have a new anamorphic transfer made, instead choosing to use this old LaserDisc transfer to make a quick buck off the fans.

------------------------

and the official:

---------------------

http://www.supershadow.com/starwars/dvd.html

In response to overwhelming demand, Lucasfilm Ltd. and Twentieth Century Fox Home Entertainment will release attractively priced individual two-disc releases of Star Wars, The Empire Strikes Back and Return of the Jedi. Each release includes the 2004 digitally remastered version of the movie and, as bonus material, the theatrical edition of the film. That means you'll be able to enjoy Star Wars as it first appeared in 1977, Empire in 1980 and Jedi in 1983.

See the title crawl to Star Wars before it was known as Episode IV; see the pioneering, if dated, motion control model work on the attack on the Death Star; groove to Lapti Nek or the Ewok Celebration song like you did when you were a kid; and yes, see Han Solo shoot first.

This release will only be available for a limited time: from September 12th to December 31st. International release will follow on or about the same day. Each original theatrical version will feature Dolby 2.0 Surround sound, close-captioning, and subtitles in English, French and Spanish for their U.S. release. International sound and subtitling vary by territory.

"Over the years, a truly countless number of fans have told us that they would love to see and own the original version that they remember experiencing in theaters," said Jim Ward, President of LucasArts and Senior Vice President of Lucasfilm Ltd. "We returned to the Lucasfilm Archives to search exhaustively for source material that could be presented on DVD. This is something that we're very excited to be able to give to fans in response to their continuing enthusiasm for Star Wars. Topping it off with a new interactive adventure makes September 12 a red-letter day for Star Wars fans."

=========================================

nowhere in there did i see anything about anamorphic transfers

or anything else like that..

by the way, i didn't have a DVD player or buy movies, until they

were out for several years, and i didn't have a flatscreen TV

until recently either..

i only had a laserdisc player at that point. so i'm not really

sure if i even knew what that term meant even if they had

mentioned it.

later

-1

Adium said:

SilverWook said:

This post in particular caught my eye.

http://forum.dvdtalk.com/11368548-post37.html

"I can tell you this, the University of North Carolina School of the Arts has an unfaded Technicolor-process print of Star Wars, and good condition 70mm prints of Empire and Jedi. And that place is full of film students who all undoubtedly loathe what Lucas has done to the films. Get those prints to this mysterious scanner and we'd have HD editions of the original cuts of all three films by the end of the year."

I find this hard to believe, but someone should probably follow up on this before George does...

done, done, and done... more out of curiousity

and knowledge than expectations of anything more.

however, its totally unlikely that anything will come out of it,

due to the restrictive nature of these archives.

if you think about it, wouldn't someone would have already

approached them a long time ago?

and don't forget they would be risking their academic careers,

not worth it.... just for some movies?

later

-1

pat man said:

Natural Red is just like the Crayon/marker color , natural blue is like the crayon/marker color,and natural green is like the crayon/marker color. So take a White Paper and draw 3 separate lines with the Red, Blue, and Green with the crayon/markers. So when you use a calibrate system/disc for your T.V. look at the paper and try to make the colors look as close as possible to the colors on the paper without washing out the colors.    

if you really want to get fancy,

and more professional.

used a test disc/test image.

or match it against pantone colors

with a colorimeter:

===========================

http://www.pantone.com/pages/pantone/color_xref.aspx

http://en.wikipedia.org/wiki/Pantone

however, these are used more for print,

but they are also used in other media.

later

-1

ww12345 said:

Just a word of advice - don't let the projectionist platter it. Some projectionists love to do this (basically splice all the reels together lying flat on a platter so that there are no reel changes) but it can really mess up the film. Platter damage is like the #1 cause of damage to film now-a-days.

Also, it is worth checking to see if you can watch it "full frame." They should be able to have the anamorphic lens on without having the framing guides on, so you could watch all the way to the edge of the screen!

here's what cinch has to say about platters:

---------------------------------------------------------

if it's done wrong, i agree, damage can be done. not in my booth, though. i've run platter for over 10 years now, never inflicted platter damage, gate/pad roller scratching is a lot more likely to happen. otherwise who'd be using platters?

you can assure him and others that the lpp will be screened on a huge screen off a platter by no other than cinch himself. trust me, he'll made damn sure no harm come to the print. as a matter of fact, he has just completely overhauled the entire film path, platter, brain and projection head to guarantee the lpp will be safe!

another calibration company is

x-rite:

======================

http://www.xrite.com/home.aspx

there's 3 main products:

================

http://www.xrite.com/product_overview.aspx?ID=1454

http://www.xrite.com/product_overview.aspx?ID=1513

http://www.xrite.com/product_overview.aspx?ID=1912

again, most are used for monitors, but can work 

on tv's connected to computers.

enhanced features include:

• Technologically advanced and ergonomic multi-functional measurement device
• Easy to use software – “Easy” and “Advanced” modes with simple one-click presets or wizard-driven options for more control
• Intelligent Iterative Profiling – an adaptive technology that measures and analyzes the color capabilities of each unique display for increased accuracy of profile
• X-Rite Ambient Light Smart Control - measurement, compensation and ongoing monitoring of ambient lighting conditions
• X-Rite Flare Correct™ - measurement and compensation of display surface glare
• Automatic Display Control (ADC) adjusts your display’s hardware to speed up process and eliminate manual adjustments

later

-1

a book review of star wars memories,

a long time ago...

===========================

http://www.wired.com/geekdad/2012/09/a-long-time-ago/

it's by the author of this daily blog:

i'm too old for this sort of thing..

========================

http://thissortofthing.com/

later

-1

captainsolo said:

As for print quality, the only thing that really gets me is color fading/turning, but I can live with it usually because I know the source isn't in the best shape. Everything else couldn't bother me in the slightest. The real problems are things like film wobble, tears, missing frames etc.

 

removing the fade was probably one of the easiest

things, as it was pretty light throughout the LPP.

we're not using the red test reels for anything

currently.

later

-1

CatBus said:

AntcuFaalb said:

CatBus said:

I thought h_h mentioned once that the GOUT version of Star Wars had the wrong soundtrack--i.e. something that was assembled to resemble the '77 mix in most respects, but wasn't the actual '77 mix.  Anyone know the details, or am I maybe imagining things?

I thought they used the '93 mix?

Possibly--either way, the whole soundtrack can be called a bug.

why is using a new mix a bug?

also, this wouldn't be an economic decision would it?

i think creating a new mix would have cost more..

later

-1

Asaki said:

 

Other "bugs" include the gate weave,

 

 and obviously the non-anamorphic picture.

how are those bugs?

if there was gate weave in the original

why wouldn't it be there?

also what does being non-anamorphic have

to do with being a bug? that's just the result

of what they did to present the final picture.

that was a deliberate choice, not a bug.

overall, those don't seem like bugs to me...

later

-1

the spyder main site:

===============

http://spyder.datacolor.com/

their products:

==========

http://spyder.datacolor.com/products/

for instance the spyder 4pro:

=====================

• Automated Color & Brightness Calibration
  -Spyder4PRO’s simple, clear and automated process makes it straightforward to calibrate your displays to a reference condition. You can view and edit images with confidence on a display calibrated to show true-to-life colors and luminance adjusted for precise shadow/highlight detail.
• Full-spectrum color sensor -Spyder4PRO’s patented 7-color sensor improves upon colorimeters that use 3-channel RGB sensors. Each Spyder4PRO unit is individually tuned in the factory to accurately handle a variety of wide-gamut and normal gamut displays with ease.
• Single sensor calibrates all your displays –
  Spyder4PRO works with your laptop, multiple monitors, iPad and even iPhone. It works with LCD, LED, OLED, CRT, Retina Display, and other display technologies. You can calibrate multiple displays connected to your computer.
• Improved accuracy and stability -
  The fourth-generation Spyder4PRO has double-shielded color filters for an even closer match to CIE color standards and improved long term stability. Average accuracy increased by 26% and consistency between Spyder units has improved 19%.
• Fast Re-calibration Assistant -The “ReCAL” feature makes it quick and easy to recalibrate your display to compensate for changes that occur over time.
• Adapts display to surrounding light -The lighting around you will affect image contrast and appearance. An additional sensor on the Spyder4Pro detects changes to surrounding light and adapts the display luminance accordingly.

although it's for use mostly through a computer,

since most tv's/monitors  have inputs from computers

you can use them with those also..

later

-1

Harmy said:

Here is a preliminary comparison gallery:

http://uloz.to/xCAaaEE/compar-gallery-rar

It's taken from a compressed render of the video comparison. I'd like you to report any mistakes, typos or mislabels you may find, so that I can perfect it for the BD release. Thanks.

impressive..

most impressive!

later

-1

Bingowings said:

I thought the whole Clones Revealed thing was some pencil neck reading the title and assuming it was an AOTC bootleg?

Correct me if I'm wrong.

wrong thread.

==========

http://originaltrilogy.com/forum/topic.cfm/The-Clones-Revealed-Available-Now/post/293427/

later

-1