You are right, too many other projects…
There are some things that stop me to get it back…
Original title: Alien: Covenant
Original runtime: 2h02m03s
Source: Blu-ray (for widescreen shots); Korean IPTV (for open matte & IMAX shots)
Video processing: combined widescreen and IMAX shot to get best quality; 35mm grain plate
Audio processing: none
Video format: x264 1920x1080 23.976fps VAR (widescreen OAR 2.40:1, IMAX and open matte 1.78:1)
Audio format: DTS-HD MA 7.1 English, DD 2.0 192kbps Italian (low quality), DD 2.0 224kbps English commentary
Subtitles: YAO black bars, English, Italian, English SDH, Danish, Finnish, French, Norwegian. Portuguese, Spanish, Swedish (movie); English, Danish, Finnish, French, Norwegian. Spanish, Swedish (commentary)
Chapters: 24
Release notes: the widescreen picture was overlaid onto open matte version to get high quality IMAX shots; the amount of IMAX shots is around 12.5m while open matte shots total around 3m; there are some hardcoded Korean subtitles remains in lower part of some IMAX shots; they were blurred to be less noticeable, but you can always get rid of them just selecting the YAO (yet another overlay); at the end, there are about 11 minutes of IMAX and open matte shots free from any artefacts; Italian subtitles track was corrected and put in sync
YAO subtitles hack: this kind of subtitle overlay black bars on selected shots; it was tested on MPC, MPV, SMPlayer and should work even on hardware Blu-ray players; to have both black bars and another subtitle, you should use SMPlayer with YAO as first subs track, and the selected language as second subs track
**Release format: **mkv (BD compliant)
Screenshots (first image shows blurred subtitles):
Comparison (top BD, middle Korean, bottom IMAX)
add video, audio, subtitles files, and mux. nothing else!
Use TSmuxeR.
Thanks! Or, maybe, 50% for Earth scenes, and 100% for the space ones? It’s (50+100)/2=75 percent as well, after all… 😄
Well, at least the sea planet at 100% is really great, while the ice planet works better at 50%.
Made a quick comparison with some 70mm cells - the ones that seemed better…
top “inspired by 70mm” (100%), middle real 70mm cells, bottom BD:
I suspect that, when improperly captured, the cells show more green than the one that is really present… but you guys here have more knowledge about that. But the 50% seems more spot on IMHO.
Made a second regrade without using high contrast; it needs more saturation, but overall I like it better: http://www.dailymotion.com/video/x5vle4k
Wow, that’s pretty cool. Do you have any larger screenshots or small clips with it in motion?
Must do that. Ask for a (brief) clip, and I’ll make it!
Whenever you need help, drop me a PM!
Made a regrade using HDTV as source; why? Because, even if it has lower quality than BD, it has bigger frame size in the first part of the movie; it could also be used just for the first part, where the frame size is bigger, though…
Comparison: HDTV (DVD colors), BD 2009, regrade
Comparison of the whole movie:
https://diff.pics/kaa5w6EoYgZd/1
Comparisons between DVD 1999, 2005, BD 2009, 2014, regrade:
https://diff.pics/kxPnQW0PKalt/6
https://diff.pics/paTcryjaGp7J/5
https://diff.pics/FDaVXiogt6oz/1
(original DVD/BD images found here: http://www.theraffon.net/~spookcentral/gb1_homevid_compare.htm)
It’s easier if you send me the shot (the original, untouched one) and I’ll apply various grain plates, so you can choose from them.
Happy you have found more footage to insert! 😄
I like the colors!
I’d add a grain plate or something to hide the wound shot - which is clearly perceived as upscaled, while, for example, the shot shot (pun intended!) is so fast that passes unnoticed.
Also, is it me, or, after the ship arrival, there are some shots present in the original, and missing in your version?
It would be nice to have a left/right (or top/bottom) comparison clip - using black for missing shots; so, we can have a more clear idea of the before/after.
In my open matte master list, there are about 3000 titles; even discarding the double ones due to different formats, and the ones still not checked and that would be indeed cropped and not open matte, there would be more than 2500 open matte/fullscreen titles… that are a bit more than 1% of all released movies - should also add that the list is mainly focused on US movies.
Personally, I do not consider the open matte version the “real deal”; yet, if available, I’ll grab it as an alternative version - and usually mics and other props aren’t visible in open matte versions (1.78:1) while could be more probable on fullscreen (1.33:1) ones.
Maybe a 50% mix works even better, what do you think?
Watched the whole regraded movie, and it surprisingly (even to me!) worked very well!
Despite the cool tints seen in the comparison, I didn’t expect it to be quite warm indeed; every shot was spot on, color wise, in particular of course the “water” planet - the blue cast added to many IMAX shot helped a lot there.
take a look at the comparison for the whole movie
Started a new thread with comparisons for whole movies:
http://originaltrilogy.com/topic/a-whole-film-in-an-image-comparisons/id/56009
Have fun!
Are you curious to see the differen color grading, or aspect raio, of a movie, but don’t want to watch it all? Well, just take a look at “a whole film in an image” GIFs and screenshot comparisons!
(warning: big images, it could take some time to load’em all!)
Title (year) [project] - differences - release date - GIF image - comparison link
Alien (1979) [Fundamental Collection #001] - colors, 85% of movie with bigger frame - 2017-04-18
Aliens (1986) [Fundamental Collection #002] - colors - 2017-04-19
Alien³ (1992) [Fundamental Collection #003] - colors - 2017-04-20
Alien: Resurrection (1997) [Fundamental Collection #004] - colors - 2017-04-21
AVP: Aliens Vs. Predator (2004) [Fundamental Collection #012] - colors - 2017-05-17
The Arrival (1996) [Fundamental Collection #008] - colors - 2017-04-01
The Chronicles of Riddick (2004) [Fundamental Collection #011] - open matte - 2017-05-09
Halloween (1978) [Fundamental Collection #006] - colors - 2017-03-07
Interstellar (2014 - colors - unreleased
Minority Report (2002) [Fundamental Collection #007] - colors - 2017-03-11
The Mummy (2017) [spoRv] - colors, 5% of movie desubbed - 2017-07-24
The Thing (1982) [Fundamental Collection #005] - colors - 2017-03-01
Timeline (2003) [Fundamental Collection #010] - open matte - 2017-04-13
Waterworld (1995) [Fundamental Collection #009] - colors - 2017-04-05
Wonder Woman (2017) [spoRv] - colors, 5% of movie desubbed - 2017-07-21
if someone would like to add his project comparison images here, just write the link of the comparison in the comment.
Thanks!
Although some scenes would have unnatural colors, we are talking about a film, so… if you think about it, maybe 90% of action Hollywood movies released in the latest years have some (or all) of them!
According to my (brief) tests, it seems to work well, but I should watch the whole movie (still encoding) - even if, to be honest, after few minutes the brain “set up” the white point, so it will say to my eyes it is OK, even if it’s not… 😄
70mm cells: I took your picture as inspiration because, reading what you wrote about, it should look like a lot close as it is when watched live; but don’t know about those other cells, tough… pretty sure they were scanned without too much care, so can’t be trusted as color reference, unless the scanner have done a good job like you, and wrote about it!
Nevertheless, it would be nice to have a look at them, and maybe discover that they match your 70mm one!
Lately I’ve tinkered with few “de-tealized” projects, and learned some new techniques; so, I’ve decided to give Interstellar a go…
The “inspired by 70mm” is a color grading made in Avisynth - no LUTs or color matching; I could make it even closer to 70mm, but in that case there would be white clipping, so I’ve chosen the best compromise, and it works well, it seems:
take a look at the comparison for the whole movie:
http://screenshotcomparison.com/comparison/216927
I’ve also compared it to the camrip - that is faaar to be considered a color reference; indeed, “as is”, it’s different (a lot) from BD and regrade; when adjusted (saturation lowered, magenta blanket removed, levels tweaked), it resemble sometimes the BD, sometimes the regrade, sometimes neither… and it happens also for subsequent shots - I suspect the autowhite and/or autogain are involved. But the fact that often is closer to the regrade than the BD, and that some members remembers (pun intended!) the colors in the theater to be closer to the 70mm scan may means it “could” be “right” - somehow…
I’m perfectly aware that it almost never happen that a single regrade setting works for a whole movie, but in this case it seems to work; still to watch it all, but I’ve tested few shots, and they look good; preparing a low def version and I’ll watch it in the next few hours, then I’ll write my conclusions.
I know that for each project (and one complex like yours in particular) there are so many thing you have to check/tweak/test etc. - but it improves with time and experience, usually… 😄
Clipped white: I’ve seen it, but, as there are “nothing” to recover there, the only solutions I can think of are
I liked it! Can’t remember the original version exactly - I watched it few years ago - but your version worked very well, as it’s seamless (apart the repeated frame that was fixed as you wrote); that’s a bit like the best CGI effect, when you can’t say if/when it was used - it means it works!
Some notes:
colors: I like them!
subtitles: I like them out of the picture - probably I’m one of the few, though… don’t know if you plan to hardcode them, but I’ll go soft.
problem: the first shot after the credit (the car) is affected by deinterlacing artefacts.
hint: I’d stretch horizontally the first credits - the one you used with starfield as background - to resamble better the following credits font size and aspect ratio.
Originally it was:
but sadly after the forum update, it ended up as it is now… 😦
Indeed, it’s not even possible to type it here, hence the image!
I use BetterNet - it “seems” to have no bandwidth limit!
If someone could provide the complete replacement audio for the sandstorm deleted scene - even simple stereo - I’ll be really happy! 😄
Use a VPN and MegaSync, and when the limit occours, disconnect and reconnect (always through VPN) to get a new IP, and no waiting time.
I read the description, but it seems there is not the needed deleted scene - the sandstorm.
