oohteedee

That guy with no name said:

how do i get this version i could not find it on myspleen.

They are on there. Search for my name oohteedee instead of D+77. The D+xx name was a bad idea because the + (plus) sign is treated as a special character in search engines. I mention this 4 posts above BTW.

There are newer versions of 77 and 80 released at the beginning of this month on the other forum that have not been posted on the spleen yet though. They are colour tweaked versions. They may make it there eventually.

Hal 9000 said:

OP updated to reflect an update to ROTJ, essentially remastering it to use OhTeeDee’s color corrected 19SE and OTD83 projects. To me, these two sources make the OOT and SE material blend together more seamlessly than I have ever seen before. I am very satisfied with this presentation of ROTJ, and thank OhTeeDee again for his help in providing such awesome source material. And of course to those behind 4K83, and SkyDude, who made even that possible. I will similarly update ANH and ESB in time.

It’s oohteedee btw. You missed an ‘o’.
😉

You’re welcome!

OTD83 was released on the other SW forum. It was posted to the spleen and I just looked and it is available on public trackers (not posted by me there). v1.2 is the latest version. I didn’t call it D+83 for a few reasons. I didn’t post it here because I didn’t feel like making a big deal about it. If anyone is interested in it you can search for OTD83.

edit:
The D+xx naming scheme was a mistake. The + sign doesn’t allow searching very well because the + sign is considered a special character for search engines. When searching for these D+ releases it’s best to search for my username oohteedee which is part of the file name and will return search results where as searching for D+xx may not.

That is by SkyDude. I used the drive-by shot for D+77.

D+77 has been updated to v2.3 to fix a few things I didn’t like in the previous version.

v2.3 changes
I stabilized the end of the tiltdown a bit just before the flyover. It was quite jittery. I didn’t completely stabilize it, I just reduced the jitteriness of it. There is still some jitter (gate-weave) left.
The restored shot of Artoo in the canyon has the colour tweaked. I felt it was too red and too dark compared to the shots right afterward. It’s a closer match now.
The shot of the entrance to the Cantina is digitally recomposited now to greatly improve the quality. It’s a little less theatrically accurate now without the purple patch in the middle but the overall quality is much higher.
The “doors locked” shot has been tweaked to fix what looked like light leakage in the scan.
The shot of the Falcon blasting out of Moss Eisley has been redone to improve the quality. It had some textural stability issues before.
The shot of the Falcon backing out of the Death Star has been redone.
The shot of the Rebel guy scanning the horizon on Yavin has been redone.
The PG end notification is redone to eliminate the warping it had.
I tweaked the colour of another shot a bit to better blend.

Lastly, this version is NOT GOUT synced. Version 2.3 presents the full theatrical sync
of the film. It restores the one frame missing from the NTSC GOUT DVD which was present
in the PAL GOUT DVD and of course the UHD BR.

-For the stereo track I used hairy_hen’s 70mm 2.0 v3 flac audio file. - edited in Resolve. Rendered out to pcm. Transcoded to ac3 using ffmpeg.
-For the mono track I used the DTS-MA audio track from 4K77 v1.4. - converted to wav using eac3to. Edited it in Resolve to sync to the stereo track. Rendered out to pcm. Transcoded to ac3 using ffmpeg.
-For the 5.1 track I used hairy_hen’s 70mm 5.1 v3 DTS-MA audio file. - converted to flac using eac3to. Edited and synced in audacity using the stereo track as a reference. Exported to flac. Transcoded to ac3 using ffmpeg.

I was hoping our audio experts would have theatrically synced these by now but it hasn’t
happened yet so I did it on my own the best I knew how with the tools I had.

DTS-MA versions of these tracks are in a separate folder for those who want lossless audio.
AC3 files were muxed into the file for maximum compatibility.

This is how I always wanted to present D+77, in it’s full theatrical sync.

The 2160p is rendering now. It’ll be ready in a few days. 1080p is now in the usual place.

I’m content with this version and don’t plan any updates for a while.

enjoy!

v2.2 1080p has been posted to the usual place. 2160p is rendering and will be available in a few days or so.

v2.2 changes…

This release is to improve the quality of many shots.

The Fox intro is redone to be a more theatrical colour graded. The source for this is an original Star Wars 35mm print.
The opening crawl has been redone and retimed to be more theatrically accurate. The starfield during the crawl is now repositioned more accurately. The timing of the tiltdown after it is theatrically timed now. In the SE it gets to the planet too quickly so the music queue was off.
The 3PO “over here, hey help, please help” shot is now UHD Blu-Ray which has a custom wipe to the 35mm Tech
print with R2 in the canyon. This is a huge improvement in quality.
The wipe to the “look sir droids” shot is cleaned up a bit.
The twin suns shot is replaced with the theatrical version.
Greedo hardcoded subs are redone to improve the quality.
The grate that Leia shoots to the trash compactor is theatrical now.
The ships taking off from Yavin shot is redone. Many ships where faint or missing.
The final wipe to the credits is cleaned up a bit.
White specks on the sides of the end credits are cleaned up.
Many other shots are better colour matched. I also fixed light leakage on the sides of many
shots.

enjoy.

Stotchy is working on it. It should be ready soon from what I hear.

RuleStickler said:

Does v2.1 have added grain to it?

Yes it does.

V2.1 has been shared in private in both 1080p and 2160p. I’m sure someone will post them on the spleen sometime in the near future.

I have redone a bunch of shots to make them more seamless and colour corrected a few shots too.

This shot has been totally redone and is “near perfect” now. The original 35mm source was very grainy so it took some effort.

sanjuro_61 fixed the colour of the left side of this shot which still had light shining on it from the SE window that was removed. I improved the rest of the shot.

Other shots redone are the oven shots where Chewie finds 3PO. Two other SE window shots were redone. The final wipe is much better now and the final credits are properly stabilized and cleaned up. Maybe something else I’m forgetting too.

Harmy said:

Just a hypothetical - if one used a LUT on an adjustment layer above everything and then graded everything so that it looks good with the LUT and then exported a 10bit file without the LUT, could this be used as HDR output?

No. When you turn off the tonemap LUT the colours would be off because it is HDR with SDR adjustments. You would need to convert your SDR adjustments to HDR for it to work. Even then without an HDR monitor you don’t know how it’s going to look until it’s fully rendered and viewed in HDR on your TV.

Really you need to do your adjustments in HDR with a proper monitor for it to work well.

Just to clarify the command I posted said ”tonemapped” for the output file but it is not tonemapped with that command. It will be HDR ProRes.

I have edited my previous post to remove the word tonemapped.

I tonemap in my final Resolve project.

In the screenshots you posted I don’t see where you select 10bit. How do you know it’s being processed as 10bit?
It could still be processing it as 8bit but then saving it in a 10bit ProRes file. It would only be 8bit info but in a 10bit wrapper.

That’s why I prefer command line because you have complete control of the workflow.

If it outputs a ffmpeg log file you can confirm its workflow with that.

Try the command I posted instead of using hybrid. It works.

Doing the whole movie can take 8 or more hours depending on how fast your machine is.

I convert the mkv direct to ProRes4444 with ffmpeg. I’m not at home now so I can’t share my command line. I can do that when I get home.

It’s important that force 10bit when you do it. The default with ffmpeg is 8bit. That could be the issue you are having.

I never work direct with an x264 or x265 because it’s always very sluggish and it’ll often show the wrong frame when scrubbing back and forth. In ProRes every frame is a key frame so the frame displayed is always accurate.

Edit: what I use

ffmpeg -hide_banner -i /path/to/file/ESB-HDR.mkv -an -vf “format=yuv444p10le” -c:v prores_ks -pix_fmt yuv444p10le -profile:v 4 -vendor apl0 -r 24000/1001 -force_fps -movflags +write_colr -colorspace bt709 -color_primaries bt709 -color_trc bt709 -report ESB-HDR-ProRes.mov

The 10le in those two places tell ffmpeg to use 10bit instead of the default 8bit

yotsuya said:

Don’t the astronomy guys have software to do this? Poita did something for me a long time ago from the 81 crawl using astronomy stoftware to find and enhance the stars. That has to align them first. And astronomy has to deal with atmospheric disturbances that distort small parts of the image.

AutoStakkert!

I use it sometimes for my projects. It works very well for this kind of thing.

Thanks for the feedback.
It was pretty quick and easy to scale them to 1080p. Best to make sure it’s fully compatible.

Here’s what the reel change markers look like as a pgs sub. It looks like the original unaltered frame.
This is a screen capture because exporting the frame exported it without the reel change marker.

I guess I ignored the “rules” that subtitles are for just words.

Again thanks for the tools and for the info on how to use them!

I’ve successfully created pgs subs that contain the original reel change markers for 4k83. This allows you to see the original reel change markers for projects that have had them removed (v1.2 and up).

I’ve only created a 2160p version for now but I notice when muxed into a 1080p file they scale down to the proper size and location.

CatBus is there any advantage to having native 1080p and 2160p pgs subs? The 2160p work in both.

Also when I timecoded it I assumed the first frame would be at 0. The markers were one frame early. Is it the standard for the first frame to be 1 during playback?

Thanks for the tools which allowed me to do this.

Just a side note but when rendering them it gave a warning that the duration for each was less than 500.5ms. I overcame this by adding a blank marker to the end of each set, otherwise the last marker displayed for around 500ms.

Fated-Dualist said:

It looks great, great work oohteedee!

Is there a ‘D+ 83’ version too? (or soon?)

I have no plans to. Someone else has said they’d do it.

Personally I’ll always watch 4k83 as that’s an already true theatrical restoration.

andresfresard said:

Did you add film grain to this project? Also I would love if you could point me to the right direction to find these edits as they look outstanding! Congratulations on this.

v2.0 does not. I left the grain layer off when I rendered it. The next version will have one.
D+77 v2.1 does have a 35mm grain overlay.

It looks like someone has put them on public torrent sites already. I can’t tell you where but a search and you should find them.

I do it a bit different.
After ripping and remuxing to a mkv, I use ffmpeg to convert the x265 .mkv to ProRes4444.
In Resolve I’ll then typically use a tonemapping LUT I created with DisplayCAL or another tonemapping LUT.
And finally still in Resolve I’ll do my final grade/edit.

What is this you ask? This is a “theatrical” reconstruction (mostly) of The Empire
Strikes Back using the UHD BluRay 2160p HDR version as it’s main source.

This is not a pure theatrical reconstruction though. It is very close to theatrical.

I call it D+80.

All my posts and updates have been on the other forum. I just didn’t want to maintain two discussions about it. I’m posting this here for those not on the other site to know what this is.

V2.0 is the latest version available at the usual place.

Edit: v2.1 has been released.
 

Sources used…
The 2160p UHD BluRay was used as the primary source for this project.
Two 35mm theatrical prints were used to restore original shots where needed.
All scanned in and cleaned in 4k.

Audio…
This version is not NTSC GOUT synced. Two frames at the end of reel 5 are added back in. It is now essentially PAL GOUT synced but timed to 23.976 fps. Those two frames were present in theatres in 1980 and belong in the film. This is how the film should be viewed, in it’s entirety. This version has the full theatrical audio restored for this by schorman and hairy_hen. If you have alternate language audio it should work fine since the lips don’t match the words anyway. Please don’t try to NTSC GOUT sync this movie. Instead re-sync the audio you have and shared it back to the community. It’s time to abandon the flawed GOUT standard and keep the film as it was made, as it was seen in 1980 and how this film should only be viewed, in it’s original glorious entirety. It’s time to readopt the original theatrical standard like 4K83 did.

New 5.1 audio track mastered and theatrically synced by hairy_hen for this release.
Other audio tracks newly mastered and theatrically synced by schorman for this release.
Thank you both.

More info about the audio in the Audio files folder.

Colour…
The original HDR grade took advantage of the wider colour gamut. Since I’m working in SDR, rec.709, I needed to tame the HDR grade. What this means is areas that lacked saturation have been boosted but areas that would have gotten oversaturated with that change have been scaled back. I did a saturation rebalance. Other colour tweaks were used to make it the best I could.
Colour is - HDR tonemapped with a LUT provided by age - final colour by me using only curves (sat-vs-sat, luma-vs-sat, hue-vs-sat, and standard RGB curves).
 

More info…

Theatrical but not completely theatrical…
I restored most of the original 1980 shots of the film, removing most of the CGI and other
unnecessary changes. My preference was quality over authenticity though.
My intent was to keep it as theatrical as possible, but I’m willing to sacrifice some
authenticity for quality sake so some creative license was used in the process.

It’s theatrical in spirit.
 

A new version is in the works. A few replacement shots have been redone already.
 

What is this you ask? This is a “theatrical” reconstruction (mostly) of Star Wars using the UHD 2160p HDR version as it’s main source.

This is not a pure theatrical reconstruction though. It is very close to theatrical.

I call it D+77.

All my posts and updates have been on the other forum. I just didn’t want to maintain two discussions about it. I’m posting this here for those not on the other site to know what this is.

V2.3 is the latest version available at the usual place.

Sources used…

The 2160p UHD BluRay was used as the primary source for this project.
My DNR of 4k77 shots are used to restore original shots where needed. For many shots I
went back to the RAW anamorphic scan used to make 4K77. A shot from another Technicolor
print was used as well.
A few shots were provided by SkyDude for this project. Thank You.

100% of this project is 4k sourced.

v2.3 is now theatrically synced. We’re calling it ROUT synced for “Restored Original Unaltered Trilogy”.
v2.2 and prior were GOUT synced because I didn’t have complete audio to use.
4K83, D+80 and now D+77 are all fully theatrically synced, to view the complete theatrical experience. The 2006 DVD was a piece of crap in every way and as such is now depreciated.
GOUT is a bad arthritic condition that needed to be cured.

Greedo subs…
I hardcoded the original Greedo subs using the .sup file from Project Threepio.

Audio…
I muxed in the English stereo, 5.1 and mono tracks but I used ac3 files instead of the DTS-MA files. Too many people have issues playing the DTS-MA tracks so it’s more accommodating this way. I personally always convert DTS to ac3 anyway. If you really need DTS-MA I figured you’d know how to mux them in yourself.

Colour…
The original HDR grade took advantage of the wider colour gamut. Since I’m working in SDR, rec.709, I needed to tame the HDR grade. What this means is areas that lacked saturation have been boosted but areas that would have gotten oversaturated with that change have been scaled back. I did a saturation rebalance. Other colour tweaks were used to make it the best I could.
Colour is - HDR tonemapped with a LUT provided by age - final colour by me using only curves (sat-vs-sat, luma-vs-sat, hue-vs-sat, and standard RGB curves).
Colour is loosely based on a colour correction by DrDre.

Theatrical but not really theatrical…
I restored most of the original 1977 shots of the film, removing most of the CGI and other unnecessary changes. My goal was quality over authenticity though.

My intent was to keep it as theatrical as possible, but I’m willing to sacrifice some authenticity for quality sake, so some creative license was used in the process.

It’s theatrical in spirit.

stretch009 said:

oohteedee said:

I have talked with Harmy and my D+77 and D+80 projects are going to be the basis for Despecialized v3.0.

These projects are mostly theatrical already so this saves him a lot of time.

This will be a collaboration effort between us.

My existing projects are 100% 4K sourced.

What about ROTJ?

I hadn’t planned on doing a D+83 (Jedi) simply because I think 4k83 would be superior in more ways as it’s already completely theatrical.

Stotchy has stated he’s going to create a D+83.

All the restoration is done for Jedi so it would be very easy to create a D+83 or Despecialized using 4K83.

I have talked with Harmy and my D+77 and D+80 projects are going to be the basis for Despecialized v3.0.

These projects are mostly theatrical already so this saves him a lot of time.

This will be a collaboration effort between us.

My existing projects are 100% 4K sourced.