jimbotron235

What are you using for playback? I tested it at 4x on VLC and it runs smoothly.

I caught the “theatrical cut” live tonight at the San Francisco Symphony.

Overall had a great time, the music was superb.

I was curious if I would see the newly minted 4K master of the film, but no, it was a custom edit of the Director’s Cut Blu-ray master approximating the theatrical cut. Unlike my version which spliced in missing or trimmed down shots, this one didn’t bother, it just cut to the next shot, causing some jarring moments. Like when Stanzi asks “so you’ll help us?”. In this, it cuts straight to Salieri walking away, no reaction shots. None of it affected the music though.

Reminder - if you want the link, please send me a PM directly.

Those screencaps absolutely nail it. Wonderful job

Since you’re starting with the remastered Blu-rays, did you reverse the blurry B&W appearance of the flashback shots?

Hummis said:

Now, if only someone would remove the dirt, hair, and scratches from the film, then we would have a true remaster on our hands.

Edit: Or at least as a separate project, in case some people like the dirt, hair and scratches that are in the 35mm Version.

As available 35mm scans go, these are remarkably clean to begin with. But I too would welcome such a project. In addition, reproducing the extended cuts of TTT and ROTK and “35mm-izing” the extended cut footage to match the rest.

I’m curious as to why the burned in Elvish subtitles are gone. Are there plans to have player generated subtitles when Part 2 is available?

greven said:

Hello, this looks amazing! I am baffled why NLC dropped the ball so low with the 4K remasters.

Not New Line. The answer lies with Peter Jackson himself and his company Park Road Post, and the recent fascination with using AI to upscale and de-grain 2K masters.

To those who want it, please send me a PM directly for the link.

Also note that I will retire this once the official 4K release is available, assuming it is indeed the theatrical cut.

stwd4nder2 said:

jimbotron235 said:
That’s wonderful news. I’d like nothing more than my edit to be obsoleted.

I have a feeling the audio tracks might still be handy to have

Indeed! Thanks again

Reminder for anyone who wants a copy, please send me a PM request directly. Thanks

Handman said:

Since I still get asked about this after nearly 10 years, I thought I should mention the theatrical cut has officially gotten a 4K restoration that will premiere at the Academy Museum in May.

A long time coming.

That’s wonderful news. I’d like nothing more than my edit to be obsoleted.

lotatens said:

How does this edit compare to TM2YC’s Amadeus edit? He published it in 2017 and gave the following reasons for making it back then:

[jimbotron235’s] version seems to have frames and partial shots missing, at least one entire shot missing (which might, or might not be on purpose), one shot missing (on purpose because it says in the cutlist) and replaces whole shots when only parts needed replacing. Also some of the shot overlays are noticeable to me and the Orion logo at the start is a later one (but only nerds like me would spot that difference 😄 ). It’s very small stuff to be sure.

So because it’s not that time consuming to do, I decided to make my own “frame accurate” version. I also wanted to include the commentary track (in an edited form).

That comment from 2017 relates to what was in V2. V3 is closer to being frame accurate and uses a different Orion logo, hopefully more accurate. I’ve not seen this other cut, so I’m not sure what other differences there are. But if his version is frame accurate, then the major difference will be in a single shot that was truncated in the director’s cut which I chose to keep rather than swapping in the DVD shot, the first shot of the Salieri/Constanza scene. Other than that, the differences add up since for whatever reason the director’s cut lops single frames off the start and end of shots all throughout the movie, so a 1:1 sync to the original theatrical cut is a bit of a nightmare.

Unless he’s added it since, the other main difference is that my version includes laserdisc audio options in addition to the DVD 5.1 mix.

If you are interested in this edit, please send me a PM directly. I don’t always check this thread, but I do check my PMs regularly.

It looks like he took down his site and most of his videos. I’ve been trying to find the complete version of Sins of the Father to make an edit splicing in Blu-ray footage. Thankfully for season 4 onward, CBS included HD deleted scenes.

jimbotron235 said:

Please send me PM directly.

Ahem.

wowbobwow said:

Yeah, that’s a good point. Maybe could have two different versions for whichever folks prefer. Either no picture loss for the problem shots w/ black bars on the sides or the presentation I had outlined.

The only reason I remember the issue being present at the theater was because I remember thinking there was something wrong with the projector, haha.

This is even MORE obvious in 4K. There are some scenes where you have consecutive shots with the same characters but radically different geometry. The first and second shots with Riker is a strong example. The fact this happens throughout the film and isn’t just the result of a bad day of filming is even more confusing.

When I was working on the latest version of Amadeus theatrical cut, I noticed the original Blu-ray resolution was 1920x794, an unusual aspect ratio of 2.42:1, and then I noticed that everything looked squished. Not squished as badly as this, but enough to look off. I stretched it to 1920x804, a more standard 2.39:1. It makes a huge difference. Thankfully no cropping needed.

Thank goodness I wasn’t going crazy. I’ve noticed this ever since DVD. I saw this theatrically, but don’t remember that, but I sure remember it on every video release since. This is the first time I’ve seen anyone else mention it.

Stretching the video vertically and then cropping it introduces the issue of chopping off the top of people’s heads. IMO that cure is worse than the disease. If I had to choose between stretching vertically and cropping OR squeezing the video horizontally and having black bars on the sides, I’d choose the latter.

jimbotron235 said:

Please send me PM directly.

Bump

Many have found the way, some have not…

AdmiralWasabi10191 said:
This forum doesn’t have a search function when it should. So no, I don’t know which post to go to.
I AM SCARED! SO LOST! HELP ME FIND WHICH ONE IT IS!

https://originaltrilogy.com/topic/Amadeus-1984-35mm-Theatrical-Cut-Anamorphic-2X-Help-Needed-Already-in-WIP/id/87177

No updates, it sounds like.

SmegPod said:

Thanks for the download link.
I’m slightly confused as to the difference between the included “PCM Laserdisc Audio” track and the separate “JP LD mix” wav.

As stwd4nder2 said, it’s a different track. After I had completed V3 with the US LD mix included, the JP LD was generously sent to me. I synced it up and included it as a separate download.

Please send me PM directly.

I’ve made available, as a separate download, alternate audio tracks for the DVD 5.1 mix, in both AC-3 and FLAC, in case the included AAC track doesn’t work for you. Note these are derived from the original sound mix, and should sound identical, but are now included for maximum compatibility.

alexp120 said:

I meant, use the AC-3 track from the 1997 DVD release which was the theatrical cut, instead of the 2002 ‘director’s cut’ DVD.

The audio sources used are the 1997 DVD and the 1996 Laserdisc. The director’s cut audio, whether DVD or Blu-ray, is not used in any way.

alexp120 said:

@jimbotron235:

Why bother transcoding the AC-3 track at all? Keep the AC-3 track untouched and mux it to the final edit of your project.

The fps (frames per second) from the DVD—29.97fps—and the fps from the Blu Ray—23.976fps—are one in the same—both audio tracks will have the same duration.

If you didn’t change the speed of the AC-3 audio when you imported it to Premiere, then by all means, keep the audio you have in Premiere as a guide when you are editing–so long as your final edit is at the fps of 23.976.

When you export the video with that audio, mux the DVD’s AC-3 track to your edit. Compare the speed of both AAC and AC-3 tracks and see for yourself if they are sync’d properly.

It has nothing to do with frame rate. Besides, I de-interlaced and converted the DVD video to 23.976 before building the edit.

The AC3 track (and LD for that matter) can’t be added untouched. The director’s cut video has dozens of shots that are 1-2 frames shorter as compared to the theatrical cut. This results in numerous instances where the video and DVD/LD audio go out of sync. I can fix this here and there by inserting duplicate frames where appropriate but for shots where a judder would be noticeable, I have to trim the audio by the appropriate amount of time, and then export the edited audio track.