thebiggerpictures

Class316 said:

Can you please release the uncensored scenes in HD for A Goofy Movie.

Unfortunately, no - we are not able to release those.

While our company is in touch with Disney, we are not the owner or distributor of the film - therefore we are not able to control the release of any additional footage. The footage contained within the documentary “Not Just A Goof” was licensed from Disney by the documentary production company CNEK, but the shots that were censored are not contained within that licensing agreement.

hharlan23 said:

Is it still in progress?

The beta restoration was completed previously. It will not be released to the public since it was a beta test.

What started as a COVID project by one of our team members in 2020 turned into a company with multiple employees and now several feature film restorations in our pipeline.

The Goofy Movie project utilized experimental software and AI upscaling in certain shots that we would not have used if this was a scan of the original camera negative. We have been in touch with Disney for this and other projects and have made several suggestions on how the film could be restored properly without needing to resort to AI.

We completed all new restoration work on the film Not Just A Goof which is now available on Disney+ for which several members of our team are credited.

The director of the original film, Kevin Lima is in touch with our restoration supervisor on possibilities for the future for the film - but ultimately for it to be released by Disney a new 4K scan of the camera negative needs to be done and the restoration work needs to be completed by Disney’s restoration team to be released officially.

Our restoration supervisor goes into additional detail about this and our other past and upcoming projects (that are allowed to be discussed) during an interview with Cereal At Midnight at the link below.

https://youtu.be/hdt8SP2VZGA

waffle said:

thebiggerpictures said:

We are of the opinion that the film should be properly restored again in 4K from its original camera negative (even if the original capture method was flawed) and its original 4.1 (encoded as 5.1) sound mix should be able to easily be expanded to Atmos or 5.1/7.1 without the use of AI technology.

While the director and sound mixer are happy with that restoration, we are now able to go far beyond what was accomplished at that time.

Do they still retain the negative to allow for a true 4k restoration? If that’s the case then I agree.

The original filmout negative is safely housed. The digital files used to create it in the defunct software “Pixibox” were not archived so the only record is the imperfectly rushed and slightly-damaged filmout.

Class316 said:

Disney won’t sanction it.

There really is no need for Disney to “sanction” anything as this was not intended as a public release.

It served as an educational springboard for our team to learn and grow on several of the restoration softwares on the market, provide a demo reel for the team members involved and help create and find jobs post pandemic. We chose this film to work on during the Pandemic because it’s a joyful film that is often ignored and had an organic (relatively untouched) if ultimately problematic Blu-ray transfer.

In short, this was done as a love letter to the director and the cast/crew - and we didn’t expect it to garner as much attention as it did.

We are of the opinion that the film should be properly restored again in 4K from its original camera negative (even if the original capture method was flawed) and its original 4.1 (encoded as 5.1) sound mix should be able to easily be expanded to Atmos or 5.1/7.1 without the use of AI technology.

While the director and sound mixer are happy with that restoration, we are now able to go far beyond what was accomplished at that time.

Perseverant said:

Thebiggerpictures, your work is absolutely beautiful on this, and I’m personally very interested in this. Are you okay and can you give us an update? Nine months of silence leaves me concerned about the project. I’d be happy with any update that gives us some idea of where this one is like:

• I plan to release this to the community by x date if y criteria is met
• I’m trying to partner with Disney to release this, but odds are against me and if I can’t work something out with Disney it’ll never see the light of day
• I have no intentions of ever releasing it to the public because Disney has sent me a cease and desist, so thanks for your interest, but no can do buckos.

The 4K HDR DCP and Test UHD for Goofy was fully completed in Q1 2023 and sent to the director for review. He gave a few small set of color notes and some very slight changes were made in Q2 2023. The sound mixer on the film also received and reviewed.

We can confirm that there are no plans to release this entire 4K version at this time to the general public - however there will be additional clips shared through other means.

We have not received a cease and desist - quite the opposite - Instead there is an agreement in place that at this point in time prohibits us from providing additional updates.

Our website and Twitter accounts will provide updates when allowed.

Following Goofy, Our team worked on several items for the 4K UHD release of Super Mario Bros (1993) for Umbrella entertainment - during that time grew from just a team of two to a larger team - and have moved into higher grade restoration software - and are now capable of going farther beyond what was done in the 2022 Goofy project. We look forward to announcing several other projects we have been involved with when the distributors allow.

First full uninterrupted clip posted.

https://youtu.be/rnkY-OFUD5I

Jedi122 said:

thebiggerpictures said:

After speaking with the director Kevin Lima about the sound mix it was confirmed that Goofy Movie was indeed originally mixed and presented theatrically in select theaters in Dolby 5.1. An anonymous source - who shall remain anonymous - was able to provide me with the discrete 5.1 music and effects only track (used for dubbing other languages) in late January. That 5.1 mix is very clearly NOT an upmix with plenty of discrete activity in all channels. The rear channels are mostly mono but do have some stereo activity. Specifically I noticed stereo separation during the vacation montage sequence when bats come out of a cave and during the roller coaster shot plus when Powerline makes his stage entrance.

Even though I had completed the new mix, armed with this new source I preserved my work and then scrapped my original mix.

The primary issue with using the new source was that the vocals are obviously missing. I went through the original lossless laserdisc track and used the upmixed Center channel which removes all directional activity and then added it back into the 5.1 mix as the new center whenever dialog was occurring. When no dialog was active I was able to default/switch back to the 5.1 music and effects track. There are a few select times that vocals come solely from Left and right (during the musical numbers On the Open Road and After Today) plus there were some scenes with directional left/right pans (secretary in chair offscreen, goofy being bumped offscreen by Pete in department store, scene where Bigfoot chases max and goofy into the side/rear channels.)

I was careful to swap in my previous remix into those specific instances to blend it back and of course I had to Time align the entire master and eq. My discrete overhead and rear surround effects were redone with the stronger separated elements.

The musical numbers did contain the original Center vocals for the Powerline numbers so whenever Powerline sings I didn’t have to change out the center unless someone was speaking over his singing.

It was mixed with 4 overhead channels plus 7.1 base for the final output and rendered in lossless 12 channel and then encoded into DTS X with compatible 7.1 and 5.1 downmixes.
Due to the nature of overlaying a center channel at times, for playback on a stereo 2.0 system with no discrete center the original theatrical 2.0 lossless mix will offers the better experience, but for those with a discrete 5.1 or higher system the new mix rocks.

It will be sent to Kevin for notes within the next few weeks.

Does that mean we might finally be able to see the full thing for ourselves soon?

Updated version of the documentary with the finalized before and after clips uploaded. 5.1 AAC sound option is available on some youtube player devices. Link here: https://youtu.be/tjjDozZuQQ8

Hydra Spectre said:

thebiggerpictures said:

Hydra Spectre said:

What software was used to mix in DTS:X?

Check out my updated post on the audio. Major update!!!

The Sound is mixed in two systems - Adobe Audition and Protools. I didn’t mix within DTS-X as that is simply the encoder format. I created some object based sounds using the Original theatrical 5.1 music and effects only track and upmixed the lossless stereo theatrical tracks and combined/switched between these sources to create new 11.1 upmix which is finalized into 12 lossless wav/pcm/aiff channels (backed up in each format) and then encoded into DTS-X.

What I meant to say was, what software was used to encode the 11.1 WAV/PCM/AIFF channels to DTS:X?

DTS X Encoder Suite from Scenarist/DTS

See updated original post. Lots of new info!

Hydra Spectre said:

What software was used to mix in DTS:X?

Check out my updated post on the audio. Major update!!!

The Sound is mixed in two systems - Adobe Audition and Protools. I didn’t mix within DTS-X as that is simply the encoder format. I created some object based sounds using the Original theatrical 5.1 music and effects only track and upmixed the lossless stereo theatrical tracks and combined/switched between these sources to create new 11.1 upmix which is finalized into 12 lossless wav/pcm/aiff channels (backed up in each format) and then encoded into DTS-X.

AdmiralWasabi10191 said:

thebiggerpictures said:

AdmiralWasabi10191 said:

stwd4nder2 said:

AdmiralWasabi10191 said:
Nice. But I’m going to choose the original cinema mix instead of a remix. It’s what I tend to do for the 4K UHD discs I own, at least the titles which have the OG mix.

Thanks for letting us all know. It really added to the quality of this thread.

No need to be condescending. Just stating my preference for original cinema audio mixes. Thankfully this preservation has it as DTS-HD Master Audio 2.0.

As an FYI, the original theatrical track is 5.1 Dolby/Spectral not 2.0. It’s just only been released on home video in 2.0 - I’ve confirmed with the director - I’ll have more info on that audio track that I can share at a later date.

Are you telling me that Disney Movie Club BD is okay with the audio? Madness…

The studio had told the director the original 5.1 track would be restored for the disc, but it wasn’t located prior to the release, so they defaulted back to using the lossy 2.0 master - the same audio 2.0 master is used on Disney+ and on the DVD.

AdmiralWasabi10191 said:

stwd4nder2 said:

AdmiralWasabi10191 said:
Nice. But I’m going to choose the original cinema mix instead of a remix. It’s what I tend to do for the 4K UHD discs I own, at least the titles which have the OG mix.

Thanks for letting us all know. It really added to the quality of this thread.

No need to be condescending. Just stating my preference for original cinema audio mixes. Thankfully this preservation has it as DTS-HD Master Audio 2.0.

As an FYI, the original theatrical track is 5.1 Dolby/Spectral not 2.0. It’s just only been released on home video in 2.0 - I’ve confirmed with the director - I’ll have more info on that audio track that I can share at a later date.

AdmiralWasabi10191 said:

I’ve a receiver with Atmos/DTS:X, but I’d rather have DTS-HD Master Audio 2.0 since it’s more of the cinema experience.

I did both.

Check out my major update to the original post. Pretty crazy stuff happening.

Virtus-Christi said:

I always wonder why licensed audio formats like DTS are used as opposed to FLAC. FLAC is actually a superior, lossless codec, although there are limitations with regards to object-based surround where Atmos and DTS-X are better.

For a film like The Goofy Movie, I think FLAC stereo would be the better option.

FLAC is a great codec, but it’s still ultimately lossless, just like the formats I used. DTS-HD MA 2.0 Stereo Surround is lossless and widely used on Blu-ray and 4K discs so I went with that since I have the encoder. DTS-X is what I used to encode the entire 7.1.4 mix I created.

Class316 said:

What source did you use for the censored scenes?

A mix of sources - all depending on the shot, there was a PAL DVD upscaled in Topaz for 1 shot that was rotoscoped in for select frames (Dancing in the Principals office and Roxanne) and there was an HD 1080i version that wasn’t ever commercially released before the censorship and before the Blu-ray that was heavily damaged that I had access to that I used for the Powerline sequence and to remove the “spanx” added to the character “Treeny” when Goofy walks in on her changing backstage.

thebiggerpictures said:

Virtus-Christi said:

I don’t suppose you could PM me any torrent/magnet links for this?. I have never seen A Goofy Movie before and would like to see it for the first time, in the best possible quality!.

Unfortunately I Can’t share this at this time since I’m not the legal copyright holder for distribution.

Even though I finished the restoration, Kevin Lima has now reached out - Once I get notes back from him I may make some tweaks. Once I get to that point and have some discussions with him (he owns his own company and no longer works for Disney) I’ll be able to make a decision on how to proceed - I definitely want people to see this, but I’m not doing it for profit - simply for the film’s fans and creative team - and don’t want a Disney lawyer at my door either.

We’ve posted a clip of the After today sequence showing before and after on our channel. I also scanned and cleaned the original theatrical poster and did a color repaint of it since the character colors were way off model. I’ll release that poster later, but I used the elements for it for the opening title on the comparison video as well.

https://youtu.be/O4uXOYAiXFU

Virtus-Christi said:

I don’t suppose you could PM me any torrent/magnet links for this?. I have never seen A Goofy Movie before and would like to see it for the first time, in the best possible quality!.

Unfortunately I Can’t share this at this time since I’m not the legal copyright holder for distribution.

Even though I finished the restoration, Kevin Lima has now reached out - Once I get notes back from him I may make some tweaks. Once I get to that point and have some discussions with him (he owns his own company and no longer works for Disney) I’ll be able to make a decision on how to proceed - I definitely want people to see this, but I’m not doing it for profit - simply for the film’s fans and creative team - and don’t want a Disney lawyer at my door either.

TonyWDA said:

Just finished watching the video on my HDR monitor, and the dynamic range on the regraded footage looks stellar, particularly during the Powerline concert.

How did you manage to upmix the audio? If you’re ever looking to improve on that front, I highly recommend Penteo Surround Pro. To my knowledge and experience, it’s the only plugin that upmixes stereo audio without introducing additional perceptible artifacts, allowing the multichannel audio to fold back to its original format perfectly.

It’s… not cheap. The “plus” (+) variant of the plugin is even more expensive, but at the very least, the standard “Pro” version is absolutely worth it. I have the standard one, so if you ever need a cleaner upmix of the LaserDisc audio, I’d be more than happy to help.

I tested Penteo - it was good, but I went with NUGEN Halo. I was really able to tweak the overhead activity better the way I wanted. I preserved the original theatrical before doing anything, since it upmixes to stereo surround just fine with no need for a basic upmix. But for the remix I actually did a lot more work after the upmix, adding in new pans to follow on screen action, swapping in music only tracks into certain channels, adding the musical chorus into the overheads for reinforcement during the musical numbers. Notable examples include when Roxanne calls Max at the opening of the film she does so from the areas where his eyes look for her. Rear right and right height, etc.

When the secretary is dancing with max and gets thrown off screen the pans follow her. A couple of car and truck pans during the driving scenes. Some overheads when Pete’s camper arrives along with some powerful LFE. Rain overheads during the scene outside Lester’s. Pretty Powerful LFE when Powerline’s crystal ball gets zapped twice. Major overheads during the on the open road plane flyover and when goofy’s car explodes at the end and he lands on/in Roxanne’s roof.

WXM said:

Hello and welcome to the site! (not that I’m anyone special here 😃)

Sounds like very hardcore work there. Impressive all over the place. Are you a pro doing this project in your spare time or just a very (very) advanced hobbyist?

Just from your one post there I very much hope Kevin Lima gets to see your work. I did a restoration on something that was directed by a big-timey person and he saw it and gave a thumbs up, which is a huge thrill of course. And you’ve likely seen the Brave Little Toaster thread, where the restorers there have some kind of contact with the director. So it’s not outside the realm of possibility.

Thank you so much! I tweeted at the Director about it - he actually reached out to me this morning via Twitter and email. We are going to set up a zoom meeting for after Christmas to discuss further. Very exciting!

**Update 5/1/25
Our Restoration supervisor discusses the new film “Not Just A Goof”, A Goofy Movie, Super Mario Bros (1993), and Thrilling Bloody Sword here:
https://youtu.be/hdt8SP2VZGA

*UPDATE 6/8/23

Finalized version of the film has now been completed. Updated documentary has been uploaded showing more of the before and after work here: https://youtu.be/tjjDozZuQQ8

UPDATE 1/25/23
I was able to meet directly with Kevin Lima on this project for several hours via zoom after he reached out via email and Twitter. I was able to get some of his input on the color which was that the Blu-ray itself is color timed mostly to his specifications with a few exceptions. I’m excited to share that he was extremely complimentary of the work and fascinated by the process.

Original Post:

Hello all!

I’m new to the site, so forgive me if I don’t know the rules on how to share this information.

For a little over 3 Years I’ve been working on doing a 4K restoration of Disney’s A Goofy Movie!

Check out this documentary I made about the restoration as well as the trailer on my page.

https://youtu.be/tjjDozZuQQ8

I won’t be sharing screenshots here as the video should be sufficient for showcasing the restoration work. (YouTube compression isn’t great - but I made sure to get the file bitrate as high as I could.)

Be sure to choose 2160p and HDR for the highest quality image.

I know that many of you are used to things being shared through links for download - but that is not the end goal here - I know that I am not the copyright holder so my goal is to get it into the hands of the team at Disney to show them what is possible with this particular film and several other mid-90’s productions that were animated at sub HD resolutions then archived to film at sub-optimal resolutions.

The current DCP and Blu-ray look filmic to be sure but are heavily damaged, filtered, show issues with the original source capture method and on top of that were censored.

Perhaps if people think it’s good enough this remaster could be utilized by Disney themselves?

The finalized files are very large - Prores + DCP formats - exceeding 400GB each.

Audio was finalized with base 7.1 layers and 4 overhead channels, currently encoded in DTS-X, but could also be encoded in ATMOS from the master remix sessions. (I don’t have an Atmos encoder.) Original theatrical track which was sourced from the Japanese and US laserdiscs (both in english) was preserved and encoded in DTS-HD MA 2.0 as well.

Overhead channels are utilized for reenforcement of chorus during songs, to provide atmosphere during lightning, thunder and rain, and a few spots towards the end of the film at the powerline concert, and when goofy’s car blows up.

An SDR version was also created simultenously in 4K/2K for BD and DVD mastering.

The censorship has been removed and a lot of time was spent stabilizing, dustbusting, color correcting. I hope you enjoy the documentary. Feel free to let me know if you have any questions.

And to quote the Disney film Bambi, “If you can’t say something nice, don’t say anything at all.”
This is not something I’ve never been paid to do, just passionate about this film and knew that I could do something about it! Hope you enjoy!