poita

I would love to hear the actual -1 :)

I'm not sure what the quality is like on the print to be honest, optical 16mm tracks can be awful, fingers crossed these will be better than what you currently have access to.

Thanks to Marvins, I will shortly be posting some samples from the 16mm version of Star Wars and Empire Strikes back.

The films were a bit splicy, dirty and beat-up in places, wetgate did remove some of the lighter scratches, but there is still plenty of restoration work there for whomever wants to tackle it.

Hopefully my internet will be connected this weekend and I will get some samples up. I'm watching both scans through tonight to make sure they are complete so I can *finally* return the films to Marvins before I go back in for surgery.

The sound I had to capture at 25fps, so it will need to be adjusted back to 24 to get the pitch down to the correct levels, I found it quite interesting listening to Vader en français, thanks again to Marvins for supplying the 16mm prints.

Nice work DrDre.

I apologise upfront for being slack, I still do not have internet at the new residence, so can't easily do the required reading, but are you using something similar to the probability density function I posted a few years back, or are you using a different method? The ability to use a very different reference frame makes me think you are using something else.

I'll bounce you a PM, I have some other colour recovery algorithms I'd like to discuss with you.

Speaking of crap, apologies for my typing, my keyboard is failing and there will be letters missing from words in my posts, I try to get them all, but it is pretty random, I need to open up and give the laptop a cleanout.

I prefer a bowl of cobwebs.

There is still some shining examples of the craft out there, and Directors that give a shit and people that work exceptionally hard on films, and that are exceptionally talented. There is also a lot of bowls of both shit and spit produced every year.

This has been true all along though, take a look at the films released the same year as some of the best films of all time, there are plenty of soul-less quick money-grab turkeys out there amongst the gold, and plenty of films decried as crap at the time that 15 years later are now lauded as masterpieces. Remember, there are only ever 200-500 or so 'great films' out of the over 500,000 features that have been made, so there is plenty of crap, even in the best years of movie making.

Some of the craft is definitely disappearing, as is some of the ability to discern great work from good work and good work from poor work. When working for Kennedy Miller, I saw work come back that the people were extremely proud of, that George, quite rightly said outright was shit, (although sometimes he was just tired and called work shit that the next day he said was perfect, and asked why it wasn't done that way the first time... it was the same footage) and they went back and did a better job on it, and developed an eye for what constitutes great work. It was certainly just accepted that anyone could critique your work brutally, and you just got on with making it better. I do see people get 'hurt feelings' more readily now, which tends to lead to less criticism which is not a good thing.

I also think there is less mentoring now and people dive in too fast with too little time spent understanding the basics of the craft, it is certainly true amongst colourists.

Some of the craft has improved immeasurably though, and it is certainly far more accessible, and easier to find great resources and access to knowledge, but I do wish that more one on one mentoring was taking place within the industry.

Here is the other Leia image in full resolution and colour depth, I'd be interested to see if the noise is still an issue.

http://we.tl/D17uZrC3B7

DrDre, if you want a half resolution (3114×1344) full bit depth image to play with (16bpp tiff), then...

http://we.tl/WNRv36FiQn

It has the alpha channel as well, so watch out for that...

In other news, I finally have a new surgery date, first week of next month, so I will be AWOL for a while after that.

Looking forward to seeing it.

towne32 said:

Your top. The 80's are over, poita!

 But my mesh top and bubble skirt are still cool, right?

Well, if you can watch them on a device with HDMI output, then you can capture the digital HDMI stream without loss.

Please don't crop what?

Took me a few false starts, but glad it got you over the line.

Three.

Have you tried ffmpeg to convert to a .mov?

e.g. ffmpeg -i <input-ts-filename>.ts -vcodec copy -acodec pcm_s16le -ar 48000 -ac 2 <output-filename>.mov

AntcuFaalb said:

I'm putting together a team to work on restoring these scans.

I need at the very minimum:

  1. A colorist

  2. Two dirt cleaners

  3. An artist to fix really bad (e.g., big scratches) damage, just in case

  4. A QA person with deep knowledge about the film

Volunteering will obviously get you early access to the scans, but you must have the skills, free time, and equipment necessary to do the work.

I plan on wearing a few different hats. Send me a PM if you're interested.

 and one of these:

https://www.jbhifi.com.au/cameras/sphero/bb-8-app-enabled-droid-by-sphero/769200/

rooksby said:

Here comes the point of this post --->

Would it be possible to ask you for a few random 2k frames just to get an idea how this suggestion would work (or come apart) in real life and at higher resolutions than the sample?

Anyway, aside from all that, I just wanted to thank you for your time, efforts and skill thus far (and those that helped behind the scenes to bring us here, and all the other contributors in the last 90 pages). It really is genuinely appreciated. Cheers.

 Sure, no problem.

I'll post a short 2K segment, it would make more sense to work with a moving sequence than stills.

For aligning the various sources, check out Elastix (http://elastix.isi.uu.nl) or NiftyReg (http://sourceforge.net/projects/niftyreg/)

I had read the rather nasty review, I am hoping that in the papers at Syracuse there might be extra notes on the film.

Re using the chroma from other sources, that can work, it is mainly an alignment issue that is a hassle, but can be overcome, and the results can be very good. The lower resolution of the LD chroma isn't as big a problem as you might think, our eyes aren't very sensitive to colour resolution, and you can scale the chroma before applying it.

I want to stress again that the colours on the scan are not the correct colours. I rescanned it to maximise the colour response of each colour layer of film, so it is horrendously unbalanced, but it should have enough colour recovered to make a colour correction possible. It is certainly easier to do it from this scan than from the original more pink scan.

The colourbars and greyscale bars are quite handy in the control room shots to know if the colour is still present.

Man those uniforms are crazy blue in that version.

AntcuFaalb said:

kk650: ESB came after they stopped making IB Technicolor prints and before Kodak started making LPP prints. Basically, all ESB prints are on shitty likely-to-fade film stocks.

So we have IB Technicolor for SW and LPP for RotJ. ESB was made in the transition period with no stable fade-free options available.

 Yeah, that is pretty much right, just really bad timing as far as film technology went.

There were a few prints struck on better stock for a re-release around the time of Return of the Jedi, but they are nearly impossible to find.

BTW, are files within the .TS container MPEG2 or H.264?

Have you tried mpegstreamclip?

If someone is near Syracuse, perhaps they could schedule an appointment to check out th Judith Crist 1971 review and notes from the HX1138 theatrical release?

http://library.syr.edu/digital/guides/c/crist_j.htm

It is in Box 6 of the collection.

If someone is near Syracuse, perhaps they could schedule an appointment to check out the Judith Crist review and notes for the theatrical 1971 release of THX?

It is in Box 6 of the collection.

http://library.syr.edu/digital/guides/c/crist_j.htm