poita

They are both pretty dirty as far as the source material goes.

Ah, I have that one!

Which is the Pyramid LD?

No professional transfer lab will transfer a movie unless you are the copyright owner unfortunately.

And Harmy doesn't have it anyway, so the point is kind of moot.

Nuke and Shake work in a similar fashion. I really do like node based systems far better than the kind of linear flows in After Effects/Premiere and their ilk.

It is a different way of thinking, kind of like OOP, but it allows you to do some really powerful things and build up a library of routines that you can then use to solve problems on other projects.

Another method is to break the image into tiny cells first and then apply upscaling. This is the method that the teranex uses and it gets great results if your source is pretty clean.

Is there a way to view those images in a larger size?

I just think very few people will sign a petition that is dated 2009 and is aimed at the wrong company.

Might be better to start over with a new petition, with a new angle on it and social media it up to get supporters for a fresh assault.

darth_ender said:

 One of the articles linked somewhere earlier in this thread where some French guys get a copy is equally cryptic.

Do you mean this site?

http://translate.google.com.au/translate?hl=en&sl=fr&tl=en&u=http%3A%2F%2Fwww.mintinbox.net%2FDossiers%2FMichel_Parbot%2Fpartie_1&anno=2

If anyone has TV Guides from 1980, we can find out when this aired in Canada, and on what TV station. That would make it easier to try and track down a full copy.

What are you using to capture the PCM?

Just be careful, many Betacam SP players heads are pretty much destroyed from use. Get any seller to send you a quick video of a tape playing in their unit before you pay.

That is interesting work, I have some registration routines I can share with you going forwards with this.

Are you attempting a super-resolution output from the result?

Two different telecines will capture details that is missed on each on its own.

Fine detail data may land on a scanline on one transfer and not on the other, and vice-versa. It should be possible to recover both lots of data and end up with a better capture than either of the originals at a higher resolution.

Alexrd said:

pat man said:

Alexrd said:

This picture was just posted on Star Wars Facebook page, and it shows another example of the original, warmer colour timing.

Here's a quick comparison (couldn't get the exact frame):

  Yes the original dose look warmer. I would say increase the yellow in this shot or adjust the White balance. 

Tried that, but the background is affected as well:

Jetrell Fo said:

I was just giving folks another angle to look at really .....

Don't get me wrong, I'm not complaining. Just explaining why we've ruled them out.

Use a luma mask and key it to just the areas you want affected by the colour correction. Then you can just warm the areas you want.

Does anyone have a set of TV Guide from 1980? You could probably find an air-date then and which TV station had it.

This was aired in Canada, perhaps someone up there still has a VHS kicking around.

BetaCAM SP decks are still expensive, and many are junk as they have been thrashed to death.

You would be better off taking it somewhere to have transferred I would think, if you know anyone at a small television station you could probably get it done on the side for a case of beer or similar.

Don't forget the Pioneer reference discs.

GGV1069 for NTSC (still available from Pioneer)

GGV1007 for PAL

They have by far the most pure test signals, far better quality than the VE disc, and are the smaller size disc to allow adjustments to be made to the LD player while the disc is in.

You need these if you want to calibrate your LD player correctly using the player's service manual.

The blackmagic Intensity is a great capture card, except for composite video.

Its comb filter is hideous, you would need to use an external comb filter before getting to the Intensity.

A simple BNC to RCA cable will work from a Betacam Deck to your capture card.

Capture via component for best results.

I hadn't signed the current one as I assumed it was out of date, I think many people will be the same.

I think a new petition would perhaps should just make the business case for an OT release.

Disney doesn't care too much about the artistic argument, but if they thought they could make some bucks doing a hidef OT release then that would be far more likely to sway them than an emotional/artistic plea.

Also important to point out that the work is already done, despite claims to the contrary, many of the worst additions to the OT are over the top of original elements, which had to be scanned to add in the CGI.

If Disney think that money is being left on the table, then they may actually do a release.

Yes, but having a frame count for each reel makes it easier, and you can de-dupe 90% of it just by calculating the histogram for each frame and deleting those that are very close. You will get 95% of the film de-duped by automated methods, and then spend a few hours doing the rest manually.

The big advantage is speed of course by going with real-time capture, downside is de-duping.

It would be preferably to trigger the light source to pulse once for each frame, then it is easy to de-dupe. You just don't want the black ones :)

No, not slow down the camera, I meant slow down the projector.

Yes you can, it is just a matter of cleanup after that point.

You will get a lot of duplicate frames, it is just a matter of a script to clean them out of your final capture.

If doing that, then set up a hall effect sensor to count how many frames there should be, so you have a reference for any that are missed.

You could in theory I guess trigger a beep sound of a few ms to use as well, it would go onto the audio track next to each 'real' frame, might make it easier (or might not work at all, I'm thinking out loud).

If you got the projector to run at 15fps or 10fps and you are shooting with an NTSC camera, then cleanup may be easier too.

You may have to go back at the end and recapture a handfull of frames, but it would be much faster with a video camera. There will be compression artefacts, but the quality will still be very high. Capturing at a slower projector speed like 10fps would let you average multiple frames together to reduce noise and other non-image data.

If you can borrow a DSLR, you can use a single high quality lens, and video capture the uncompressed HDMI output, no compression problems then, but you will need an SSD to keep up with capture.

Either way, make sure you capture a set of flat frames, i.e. blank frames of white. You can then use those frames to offset any vignetting or dust motes on the sensor etc. and get a near perfect image.

One problem you will hit is your powershot shutter will burn out long before the around two hundred thousand shutter actuations required to capture an entire feature film.

You would be better off with a machine vision camera, a HD video camera or a DSLR that has full HDMI output and capture from that. No shutter actuations required.

If you can come from one of the newer model cameras that has uncompressed HDMI output (like the new Nikons) then you can capture via HDMI and get fantastic quality. You might be able to borrow one for the project as you won't be 'wearing it out' by taking lots of shots, just use the video function.