poita

I also find that people's 'clear vivid' memories get a little hazy when put to the test.

I get people to try and storyboard the scene they remember so vividly, just stick figures showing the framing and angles etc. Usually the memory becomes a lot less clear at that point, and there is a lot of umming and ahhing when trying to make the memory concrete.

Nick66 said:

SpilkaBilka said:

I agree, I think people were influenced by the Story of Star Wars LPs and stuff like that.  But I *want* to believe!

Someone on this board, I forget who, has memories of seeing the movie in theaters a few times, and there was no scene of Vader flying away at the end.  The story sounded credible to me.

Anyway, it would be cool to see *some* kind of variation between prints, no matter how small of a difference.

 

FWIW,I just have to say, I saw Star Wars multiple times in '77-'78 with my Dad.  I have very, very distinct memories of both the missed grappling hook scene and Vader spinning off without regaining control of his ship.  I have no memories of the Biggs scene.  But yeah, I absolutely remember look tossing the hook, pulling it back almost into the belt, and cueing it up again.

I'm pretty confident of these memories because many years later when I saw Star Wars for the first time on home video (I believe it was HBO) I remember being very surprised at the grappling hook scene in particular (i.e. only one throw).  I also remember being surprised at seeing Vader get control of his ship, but in that case I thought my memories might just be playing tricks on me.  My Dad thought the same thing at the time, and we've since discussed it. To this day, as many times as I've seen the film, I'm always surprised when Luke gets that grappling hook to catch on the first try.

This was long before the internet, and long before I would have been exposed to any chatter about this to create a false memory.

I don't know about the Biggs scene, and I'm frankly skeptical about that, but I'm about as certain as I can be about seeing the other two scenes.

I screened Star Wars literally hundreds of times from 77-79, and there was never a grappling hook miss.

Think about how much longer that scene would go if there was a miss. Try and story-board it out as you remember it. Also listen to the musical cues during that scene. It would be a major job to re-work the audio to incorporate the throw, miss, reeling back in of the hook, another throw etc.

I really am sure this was never in the film, and it is created memory from it being in the novelisation and the comics etc. Remember, most people only saw the film in 77 a few times, then not again for a few *years*, inbetween that time there would have been much discussion, reading, acting out scenes etc. that would distort the memory.

Memory is notoriously unreliable. I have seen 17 different prints of Star Wars on film, from different labs, have heard bootleg audio recordings from 77, seen bootleg video tape from 77, and as mentioned screened it countless times in its initial few years, not one sign of the grappling hook miss, and nothing in the audio of the released versions to show it has been removed. I'm putting this one down to recreated memories, like Bugs Bunny at Disneyland.

http://abcnews.go.com/Technology/story?id=98195

I will try those settings on mine.

Do you have the Toy Story discs? There is a scene with Mr Potato Head on that disc that is a good comb filter test.

I have the Australian PAL SE tapes, but I think I only have the WS ones, I'll have to check.

All you need to do is to find out which sensor is being used in your camera of choice, and then get the datasheet for it. The datasheet shows the spectral response curves in Red, Green and Blue. Some cameras have a problem with Red response, so it pays to remove the IR filter from the camera and replace it with a narrowband IR filter.

The peak response in each colour will be at a particular frequency. Then you go through the available LEDs and find ones that are a close match to your particular sensor. Then it is just a matter of creating an array of the LEDs and a control circuit so you can control the duration of the 'flash' of each of the colours.

This combination allows you to balance the exposure and ensure that you are  emitting light that is inside the peak sensor response, otherwise you will end up missing some colour data. If you capture with a LUT that matches the density curve of the film, then that also allows you to get better details in the shadow and highlight areas of the frame. That is harder to do on a standard camera, but a machine vision camera (like the Point Grey Grasshopper series for example) allows you to apply a LUT during capture.

In theory the disc and contents would be property of editdroid anyway, which wasn't part of Lucasfilm during the sale to Disney.

Not necessarily, but controlled lighting that matches the sensor would be better, as would a sensor with a really high dynamic range vs a lower dynamic range.

A brighter light source on its own may not be the answer if you have a sensor with a shallow well depth, you just end up blowing out the whites.

What you really want is a tri or preferaby quad LED light source (2 different red wavelengths) that matches the spectral response of your CCD sensor. That way you can adjust the illumination correctly to ensure you capture the full colour gamut of the film. LPP stock tends to have considerable shoulder and toe, so you need a capture system that is capable of capturing the high density areas wthout blowing out the low density areas.

Well, whatever their motivations, I am glad they are sharing it in any fashion. It could have gone to a collector that kept it 100% to themselves. There is some really interesting stuff on there.

It is quite likely too that they can't capture the whole thing easily, discs like that are often difficult to read, so they may well be posting clips as they are able to extract them.

I'd recommend this book if you can find it in a library.

http://www.dymocks.com.au/ProductDetails/ProductDetail.aspx?R=9780750627931

Zip Doodah said:

Hello list...

 

I need advice!

I'm working on recombining an old Cinecolor cartoon. I've transferred the 2 b/w records of the film (one red color, one blue/green). I've been taking the two sections into after effects, but so far I haven't figure out how to combine them successfully- and get the adjustment to match the original look. Any suggestions on how to combine two color records effectively?

Remember that the original cinecolor process was Cyan and Red so in after effects bring them in as two different video sequences on the timeline and colour each accordingly.

Then put your sequences on top of each other using the "Add" blend mode.

Depending on your colourspace management you may need to change your settings for the blend mode. See here: http://help.adobe.com/en_US/aftereffects/cs/using/WS61A9D13D-919A-4010-A3A2-00477A81FDB0a.html#WS2A3CEB0E-F1A1-4035-9C62-CFF4A0527B11a

http://img4.joyreactor.com/pics/post/comics-Cyanide-and-Happiness-434294.png

Lucas keyed my car!

or to be model specific:

Lucas keyed my '77 928.

Lucas keyed my '77 Trans Am.

Lucas keyed my 77 Maclaren M26.

Lucas keyed my '77 Datsun 280Z.

My daughter is currently reading 'The Never Ending Story', the book of course is a much much different thing to the movie.

She is loving the book, I said I wish someone would make another NES that followed the book more closely, as it could make a great film.

She said she wouldn't want to see that though, as the original Never Ending Story film was part of her childhood, it is something that 'just was' and she thought a new film would wreck that for her, even if it was a completely new and different entity.

The best analogy I read was someone's tag here, the SE is like having someone run a long scratch down the side of your car with a key. It doesn't affect the performance of even the look of your car all that much, it would equate to less than 1% of the paintwork being changed, but every time you looked at your car it would piss you off, and you couldn't help feeling annoyed and wondering why someone would do that to you.

Nice.

This is going to keep me busy for the rest of the week it looks like:

http://www.rfs.nsw.gov.au/dsp_content.cfm?cat_id=683

but hopefully once I am off duty again, I can get onto the other films in the trilogy.

The raw scans are about 300GB total or so I think, and it is only Star Wars at this stage. (Could be wrong re the sizes, I'm not at home and can't remember, but it is in that ballpark).

You can do whatever you like with them AntcuFaalb, I honestly don't mind.

Uploading the raw scans from my connection would take about 3 years :)

The Super8 files have been sent to AntcuFaalb for 'processing'.

I am a bit busy with real-world (non-film) physical stuff at the moment, so will be off the board again for about a week.

Goldfinger is on 35mm on ebay at the moment.

cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=161103921633

dblake83 said:

I have requested a myspleen invite many times over the years but never received one. So usenet will be my only hope and I know I'm not alone. I'm patient and sure it will show up over the next few weeks. Huge Thanks in advance to the future usenet poster.

It is currently upping to usenet.

I have no luck with CMC media, I have tried a heck of a lot of different brands, and these days only use Japanese made Verbatim. I get them straight from Japan via ebay and they never once have given me any grief. Dual layer (50GB) ones work a treat as well.

I have an old LG BD burner, it is so old it also reads HD-DVD! but it has never let me down with verbatim media.

If you have a great 4K digital projector, you can scan the film and process the resultant scan and calibrate the digital projector so that it will be indistinguishable from the original print projected.

There is no question about that, I have had directors view side by side originals and scans and not be able to reliably tell the difference.

Shooting on digital is another thing altogether, I won't get into that :)

I know Mike, he must have finally found the scope version he has been looking for for ages.

thorr said:

I respectfully disagree that they are soft.  If you ignore the "softness" of the movie, and look more closely at the fine details of the image, it is very sharp.  There is some print damage on the frame and you can see it clearly.  I don't think a 4K, 10K or whatever is going to get much more out of it.  It is what it is.

Remember that often a 2K or 4K scan includes the sprockets and soundtrack areas of the film so the final resolution can be considerably less.

Even on a print that won't resolve 4K, it is better to scan in 4K, it gives you finer control when stabilising footage etc. as you can adjust at a pixel level, so you get twice as fine an adjustment without having to resort to sub-pixel alignments which lose detail in the resampling process.

The same with repairing damage, the torn area of the film is resolved at twice the detail allowing any warps or movements of part of a frame to be done without resampling, or if you do have to resample you get a better result.

It is also easier to discern what is grain and what is dirt and other crud.

So there are advantages to scanning at a higher resolution even if the print isn't the sharpest.

I have been doing this sort of thing using a registration program, I would love to see your script.

Troyig88 said:

I hope this does get release but I am starting to think it may never happen.  I am very happy with Harmys work he has put into his projects.  An one thing I love about it is you know he will release it.  He may run into bumps and other life things can get in the way but he will come around to it.

I can't say anything much, but don't worry about it not happening, there is furious activity going on.