poita

Been waiting for an excuse to post it for you :)

CatBus said:

Now there are two of them.

I can carry it on my card until then.

I have it reserved for 72 hours. If we can get some people to donate towards costs, or at least pledge to, I can hold the debt for a little while.

I'll see if I can get it reserved then.

Synnöve said:

Where are you going to find a machine that costs less than 2k USD? The tapes themselves are a good price but the machines are quite costly.

 Machines are around $2K, but the Sony disc machine is $7K, so in that context LTO6 is a lot cheaper.

There is a great 35mm print of Star Trek III available for $475 at the moment, if anyone is interested in securing it.

Gimpy said:

Hey man, I noticed you were looking for high capacity storage for your 4k transfers, check this out.

https://pro.sony.com/bbsc/ssr/cat-datastorage/cat-opticaldiscarchive/product-ODSD55U/

likely pretty expensive in the short term, but it'll pay off huge long term.

 Thanks for that, but the 1.5TB discs are $180 each, which works out more than HDDs.

I think LTO6 is more affordable at this stage as a long term archival solution.

Harmy said:

There's actually over 20 minutes, possibly half an hour worth of footage changed in the first movie alone.

 Sorry, I meant changed completely, i.e. scenes that didn't use an exisitng element, such as the new x-wing shots, and the new jabba-han scene etc. and was only talking about Star Wars, not the whole trilogy.

I think there are less than ten minutes of footage that don't use the OT as the base-element, which means those elements were all scanned and cleaned up already, so the only cost would have been the few elements that were entirely replaced to be scanned, if they weren't already.

Puggo - Jar Jar's Yoda said:

Well, there were pan and scan releases before the GOUT.

The telecines used for LD would go straight to what format tape?  UMatic?  1-inch? And already letterboxed?

 Usually D1 or D2.

The format on the tape matched the output format, so letterbox LD had a letterbox telecine run.

Pan and Scan were different masters, the telecine unit zoomed in optically, so you ended up with a lot more vertical resolution on the P&S master tapes, but of course, the sides were cropped off.

The argument about the restoration of the OT being too costly was total BS. There is only about, what, 8 minutes or so completely changed in Star Wars, and nearly all of the other scenes were restored anyway to use as a basis for the changes (e.g. the 'infamous speeder shot' was restored, so that it could have a Ronto added in, the shot with the Stormtroopers questioning Ben Kenobi was restored, and then had a ronto composited in, the greedo shot was restored to add Greedo shooting etc.)

So all that would have been required was adding the 1977 crawl to make a restored version, as basically all the restoration work had been done to prepare Star Wars to add the CGI in for the SE.

The Matrix had a radical colour change on its BD release compared to the theatrical print.

SilverWook said:

thxita said:

SilverWook said:

Recent photo of a corridor at LAX. I'm fairly certain the row of Unichapel phone booths were shot here, as was one shot of the monks. The wall mural can clearly be seen in the film. It's been in many other films since then as well.

Bonus points if you know what 1980 movie also shot here. ;)

 Airplane! ?

 Correct!

 Or 'Flying High' as it was titled in Australia.

(We don't have airplanes here, only aeroplanes)

Right click and 'view image' to compare to the Bluray. You can see the colour changes and smoothing that the BD restoration has caused.

I'll post a compare image between the film scan (left) and Bluray (right)

This is my new desktop!

AntcuFaalb said:

Spaced Ranger said:

If you're not sure how to proceed, I suggest making multiple captures and taking careful records. Work from the controls' default settings. Vary each control to create all possible control-step combinations for tint and color. Take your sample and make an RGB-sep analysis (like mine) for each one.

Thanks for doing this research, but I have nothing like "color" and "tint" capture-side which is why I decided to capture flat. I do have a preamp with "chroma gain" and "luma gain", but it's even harder to dial-in with them. Hell, I'm capturing in 10-bit, so I might as well make use of the extra headroom and save this headache for post-production.

The first colorbars I posted are an 8-bit RGB representation of exactly what comes out of my capture chain when capturing flat.

I think I may need a better eyedropper application.

 If you have a mac, it is built into OSX.

Look in Applications/Utilities/DigitalColor Meter.app

Life, family, health and a whole lot of other inconveniences got in the way.

Will check it out this week.

TV's Frink said:

Unless it's exactly 42.74 GB, I'm not interested.

 Damn, my encode came to 42.71 GB... back to the drawing board.

Synnöve said:

I don't understand the desire for a blu-ray level 50gb file; you most likely won't be able to notice the difference! Most films on a BD50 only take up 25 to 35 GB on the disc after special features and aux audio tracks...

If you're going to spend the time and resources to create that big of a file, why not make actual use of the extra space and create something that exceeds blu-ray (circa 2008)? Hell, create a 264 encode with 2K resolution that uses P3 color space @ 4:2:2, 10 bit, and you have a file that'd be worth downloading due to it looking better than any Blu-Ray. 

 Depends a lot on the grain and weave.

A grainy and weavey film doesn't compress very well at all with even the most modern codecs,  so even with a 50GB file you can struggle sometimes.

If you are happy to stabilise the film and reduce the grain significantly, then it compresses better and a BD25 can look pretty close to the stabilised, reduced grain source.

It all depends on the source material and how close you want to stick to it.

Wow! I haven't seen a video2000/VCC deck in a long time!

I would recommend a Blackmagic intensity card or external box for capture, and you may as well use Final Cut for editing, although I would look at Davinci Resolve Lite  11 for colour correction, it also now does editing as well, and is free!

https://itunes.apple.com/au/app/davinci-resolve-lite/id571213070?mt=12

Happy to scan the trailer for you.

I'll grab a scan on the weekend and post it up here.

The NEC does well on test patterns, but not very well in actual scenes.

Unfortunately for all his playing, Aleks never got that player performing better than the same player just calibrated properly. We discussed a lot of mods to LD players and I tried them as well, it cleaned up the noise in the power supply rails a little, but introduced other issues.

It won't be available if the shipping target isn't reached though. I hope there is some more interest out there somewhere!

No, but I thought someone might be able to get a viewing of it, and check out some details.