yotsuya

The Technicolor process is very different from the typical print process which uses interpositives and internegatives. The Technicolor process uses a color separation to create the master dye transfers. The optical soundtrack is printed in separate process. So there is no correlation to the soundtrack and the print. I believe DrDre is using the soundtrack as a given static color to help correct the print colors.

This thread appears to be upscaling the GOUT and 97 SE broadcasts. I doubt I have his skill, but I am attempting the same thing. For me it is more about the colors. I’m attempting to restore something close to the original colors for both versions. It is the first stage in restoring the colors to the Blu-Ray. For A New Hope that will be hard. But one thing I have found is that my efforts to enhance it look best at 720p and do not downgrade well to 480p Widescreen DVD resolution. I think I have the colors for the GOUT and am very close for the SE. Along with the SE, I’m including the broadcasts of The Phantom Menace and reconstructions of the theatrical version of AOTC and ROTS (using the extant theatrical camera print for AOTC and the Blu-ray of ROTS to correct the DVD versions) and using the cinema DTS disc audio for all but ROTS (where the DVD audio is the same as the theatrical). Plus I’ve found information that has led to me creating a slightly enhanced GOUT of the original 77 theatrical version of Star Wars (the no episode number opening crawl, 3 different effects shots, and different end credits). So I’m going to have 10 files in the end.

Well, in Sony Vegas, you import the video into a project with the native settings. So for Pal, you make sure it is 25 or 50 fps. Then you check the frame length of the video. Write it down. Then either change the project or import it into the project you need it for and again, set it to absolute frames and then use ctrl to drag the video to the correct length (at this point you don’t align it, just start at 0 and stretch it out to match the absolute frames that you noted. then you have to right click and select properties. Since you already stretched it, it should have the details under the Time Stretch/Pitch Shift section. Just check the box next to Lock to Stretch and the audio will return to original. Depending on your source there could be a tiny bit of distortion, so it is better to use un stretched audio whenever possible, but this has worked for me for all the PAL versions of the Star Wars movies in my effort to create accurate theatrical versions of the various editions.

The gallbladder is annoying when it gives up and then there are issues once it is removed. Good luck with what ever you have going on. I look forward to seeing what you come up with when life gives you the time to get to it.

For me, making a master theatrical cut version is very important. My method is to use TB and ORF along with the LD, DVD, and BR versions. While some sections of the movie are vastly different, the majority has remained the same since the theatrical version. I found that Adywan’s reconstruction is missing 2 frames that are in the DVD and Blu-ray. They appear to be at a reel change so I pulled the frames from the home video. I’ve had to the same thing with 1 frame in Empire and 8 in Jedi (2 each at 4 reel changes), so having to do it once for TPM from the same sources makes sense. As the DTS tracks are by reel, and they overlap, this means that the DTS should cover these whether you chose to add them back in or leave them out. As I just got my hands on the original DTS discs and I’ve been working on the SE video mix, I have not yet had the time to extract the TPM and ATOC audio (my goal is not a DTS track, but an accurate AC3 track and a mixdown to Dolby Surround encoded stereo).

And TPM was not cropped right initially, though the cropping matches the SE release. So to stay faithful to the theatrical version, you have to match the original cropping, or find a way to restore the rest of the frame in the changed shots (quite hard so not something I’d aim for). That leaves about 5 shots that only exist in the lower quality (well, two full shots, one partial shot and two shots that transition to a low quality shot). Better than ATOC that has 4 shots for which all we have is the camera print of. I’m pretty much done except for pulling the DTS audio and making sure my edits line up and have Cinema DTS audio. If I were aiming to do this, I would start with the HD broadcast of the DVD version. The cropping and most of the edits are pretty close to the original theatrical version. Then you can use the Blu-ray to patch any glitches in that version (and crop it to match). At least that is the way I would do it. A lot less work. I’m sticking with only original versions so for 5 out of the 6 I am limited so I’ve gone ahead and used the ROTS DVD version with the one wipe restored as the theatrical version (it matches the leaked theatrical version that I have exactly).

Well, I’m not doing it in full HD. I’m using the ORF and TB put together to make the complete theatrical version. Each one has some errors. I’m also using the LD and blu-ray to help. One reel change seems to be missing a couple of frames in both ORF and TB. I’m still looking for the raw DTS tracks to verify whether I need to add in those frames or not (I have Adywans reconstruction with the edited DTS audio). It goes along with the best existing version of the SE OT being the TB and G’kar copies and the low resolution of the in theater video of Ep 2 (and the 3 shots that were changed from 35 mm to DVD) and the leaked copy of Ep 3.

Currently working on the 97 SE. What a patchwork to reassemble these. ANH wasn’t too hard. Between TB and Gkar, all the frames are there. But TESB is missing frames at one point from both and ROTJ is missing frames at 4 points. All reel changes. I’ve had to pull most of them from the newer HD sources. I think I have it, but the patchwork is pretty complicated and my system is balking at rendering it. My slower machine is having more luck. Should have a good version of the video in the next few days. I think the OOT might be done, or close to it. The BR may be more challenging and is going to be far more restoration then color correction or enhancement. But at this point I think I see the finish line.

DrDre said:

I decided to go for an alternate gamma correction, as the previous one seems a little too contrasty and saturated, compared to the actual frames, and less representative of the actual photography:

Raw scans:

Gamma corrected scans:

Something about what you did here has changed the nature of the colors. There is a distict magenta increase, most notable in the brightest and darkest colors. The untouched version seems more natural. When I did a color overlay of the original image and the new one (so only the colors varies, not the brightness or contrast), in the area just above Darth Vader’s belt where he is standing next to Tarkin, the average RBG color is 15, 15, 17 with the old colors and the new one is 21, 9, 21. That doesn’t look like you just changed the gamma.

Ah, these new scans excite me. I just checked how close the next to last is to my color correction. Very close. I came at it by manually correcting Mike Verta’s samples for the noted green cast (and other issues I noted with it). But the uniform, skin tone, and walls, are all in the ball park. Very exciting that I got so close. But then they both are IB prints so they can’t be too far off. I think it is sample time, but I won’t clutter your topic with that.

I think we need to figure out how to apply these to the film in our restorations. I am encouraged that C-3PO comes out a bit brassy (on the greener side of gold) and a lot of the skin tones look fantastic. But the darker colors seem far too dark. I think we need to couple these with the Senator and other showings to understand how the dark colors appear when projected. I don’t think they come out quite that dark on the screen. Those Tatooine/Tunesia shots look way too yellow (as in unnaturally yellow) but the rest look great. Can’t wait to see more.

Some more details on the sources. I did the end credits first. Originally they were form the GOUT credits, but they weren’t good enough. So I took the raw images from the SSE and made a very long composite 1920 wide by 17128 pixels. I upscaled my previous effort and the original Puggo Grand composites and I moved the text of the SSE to match - some resizing of some components was necessary. Then I realized how the text was put together (a white layer and a wider blue layer yielding light blue letters with dark blue edges - with different alignments for the Kodak and IB prints) so I cleaned it up by playing with the color layers and getting rid of the one with the most noise. Then I color corrected it to match the GOUT. Then I reduced the size to 720 by 6423 (to match the GOUT resolution). Then I just matched the Puggo Grand pacing. The last piece was the transition from the static title cards to the scrolling text. I had to extend the last card to match (I just looped a bit of it, forcing a fade out to match). The last piece is actually a piece of Puggo Grand - during the fade out of the last title card and the fade in of the credit roll, there is a blip where the two were double exposed. I could not accurately recreate that so I just lived those fre frames and placed them where they belonged. The final step was to introduce some dirt and gateweave to match the GOUT. I also added the PG card at the end.

For the Opening sequence, I used the JSC 20th Century Fox, then the scan of the 35 mm (reduced to 720 by 404 to match the GOUT). I handled it in for sections to color match it to the GOUT (more the original LD version than the greenish 77 crawl we got in 2006). The aim is for Return of the Jedi to match the Grindhouse scan so I am forcing the others to match. Williarob did too good a job cleaning it up and stabilizing it, so like the end credits, I added some dirt and gateweave to match the GOUT. When I watched it in the wee hours of the morning, I think I saw a glitch so I think I need to edit the transition from my crawl color adjustment to the pan-down and flyover color adjustment. It is a simple fade so I probably need to move it closer to the pandown and lengthen it.

And some of my patches need some work. I patched the partially disappearing starfield in the escape pod (Hard to see a way to make that one better), R2 in the Canyon (except when he is covered with energy arcs), the stormtrooper who stands up, the Landspeeder entering Mos Eisley, the Landspeeder approaching the Cantina (he has his legs back, though the color isn’t quite right), Han getting up and being stopped by Greedo (there was a ripple in the arch in the background that was driving me nuts), and the closeup of the Death Star with the Falcon being pulled in. Some need more work, some look great, all look better. The three shots I replaced look seemless so I doubt they need anything other than minor color tweaking.

I have added Yotsuya’s 1977 Star Wars Premier Edition to the spleen. Enjoy. Remember, it is a low quality draft, not a high quality final product.

dahmage said:

All that research, I can’t even imagine figuring out all of this differences. I am very impressed, looking forward to seeing whatever else you uncover.

Some very talented people made it easy to find the 3 changed effects shots. I just put the timeline together from what I’ve learned from the extant copies.

From what we are giving, I can see where Owen would have said something about Anakin running off and getting himself killed. Obi-wan turns it into what he said. He knows that if Anakin had died instead of turning, that he would have wanted his son to have his light saber. They were together for many years after all, first as student and master and then as friends and comrades in arms. And Obi-wan never owned R2 (he had an R4 with an R2 head and you can debate weather he owned it or whether it was just assigned to him).

The biggest lie is where he tell Luke that Vader killed his father. It might be just coincidence or that George had an idea that there was more to the story that Ben wasn’t going to tell luke, but Alec gives this wonderful face which in retrospect shows that you can’t really believe what he was about to say. It was a mix of truth and lies aimed to get Luke to start his training. The dialog in ANH reveals just how little Luke knew of his father and how much he wanted to know. By putting it the way he did he ensured that Luke would take the lightsaber.

Ben, like Threepio, is not very truthful in ANH. And you don’t need the prequels to show that.

So when you get to the prequels, nothing in their OT dialog really ties them to what happened in the past with any certainty so I don’t see where it creates any issues at all. The events of the PT are two to three decades in the past and memories can get fuzzy. Even for a Jedi. Leia remembering her mother is probably the biggest sticking point. I think Leia being psychic through the force is the best way to explain it. She is not the same as Luke and doesn’t have the same abilities. But even Vader noticed how strong willed she is and was surprised that the torture didn’t work.

I’ve found the best way while watching the movies is to just take it as it comes and don’t assume anything you hear is the truth. And just don’t think about it too much.

I had it mostly done Friday and then I realized what this Thursday is and I decided that it was plenty of time to get a first draft done. I got the rest of the patches done last night and now it is just a render fest for the video. I still have some work to do on the audio.

As part of my little saga collection detailed in the other thread, I have been trying to assemble the oldest version of Star Wars I know of. I had assumed until recently (and finding this topic - http://originaltrilogy.com/topic/Print-variations-in-77-Star-Wars/id/14705) that the print had remained largely untouched. However, I have identified 5 distinct differences between the Premier prints and the General release run. One is the best known - the audio. The Premier featured either Dolby Stereo on 35 mm or 6 track (4.1 or 4.2 surround) on 70 mm while the general release featured the same Dolby Stereo and a more updated mono mix. Then I came across the credits and realized that only the oldest sources had it so it must be from the initial run. That is where I was until recently.

I have been collecting versions and found that I had all the resources to pull the other shots from such sources. Due to various limitations, I had already decided to use the GOUT for my master (The Theatrical SE version and the TPM and AOTC Theatrical version can only be presented in SE without the changed scenes standing out too much - but they can be enhanced to look a bit better in 720p) so learning that at least two LD preservations that I have included the alternate scenes meant that I could easily edit them in. First I had to make sure I had found all of them. Still not entirely sure, but when I play them side by side, only those three stood out.

All three shots are effects shots. The first, when the Falcon is being chased and shot at by the Star Destroyer while escaping Tatooine, has an identical alignment - but the effects are done differently. Same stars, same ship composites, same laser blasts, but different explosions. The second is the matte painting of the Massasi temple on Yavin IV. It is aligned differently and the edge of the matte painting that makes the bottom of the door looks different - plus it has a blue line running through it toward the end of the shot. The third is the best known (when the white specs of the rebel ships are taking off from Yavin IV and the clouds are slightly different) and is also aligned different (the ships take off in different frames). So nothing terribly major, but still clearly different.

Now, knowing when the sound mixes were done and comparing the extant prints and what sound mix they have coupled with the above changes to the film give the following timline:

Premier, May 25, 1977 - Episodeless opening crawl, alternate 3 effects shots and end credits. Preserved in Puggo Grand and Moth3r’s bootleg (both original prints feature the familiar Beru voice from the stereo track and no tractor beam line).

Regular run and foreign runs - Episodeless opening crawl, redone 3 effects shots and end credits - mono soundtrack - IB Technicolor prints. Preserved in the 35 mm Kodak and IB Tech prints and Puggo Kreig. Basis for video of the GOUT (except the opening crawl and was replaced and has been restored from a different source).

1981 re-release - Episode IV opening crawl, and still the redone 3 effects shots and end credits. Interpositive struck from this negative in the mid 80’s used for the 1993 Definitive Edition LD and Faces LD, which were the basis for the GOUT except for the opening crawl (likely scanned during the making of Empire of Dreams where a short clip of it is used).

Other prints - Prints are expensive and good quality prints, internegatives, and interpositives would be reused. Virtually all of the US, UK, and Japanese home video editions contain the 3 original effects shots with the updated end credits and all but the earliest containing the Episode IV opening crawl. That is also how we have the 35 mm version of the Episode IV 1981 opening crawl - because it was tacked on to an existing film. There were far more of the regular run prints made which is likely why all of them so far that have come into OT member hands have the redone effects shots and end credits. The home video releases also make sense because the interpositive(s) used in the initial run would not have been used again and would be in good shape to copy for home video.

1997 SE - When we get to this one, we can confirm that since the mid 80’s those 3 updated effects shots are the ones in the O-neg and were used for the 97 SE and the 2003 scan that has been used for the DVD and BR.

I can also confirm after comparing so many different prints, that the US ANH GOUT is missing a frame. It is missing the last frame of reel 5. That frame is there in the BR, DVD, 97 SE, UK GOUT, and the JSC. Not sure why it is missing in the US GOUT, but all the LD release synced to it have to be extended by one frame to line up with the UK GOUT. So that is what I am using since, even it is just one frame, I would rather use the complete one. That said, the GOUT has its flaws, but I found a way to patch some of the most egregious (I may have missed a few, but that will have to wait until my next release sometime in the future as part of my Saga collection).

The video is assembled from the UK GOUT, JSC LD preservation (thanks to althor1138), with the opening crawl replaced with Williarob’s work in progress (it fits better than the crawl found with the GOUT) and a recreated end credits timed to PuggoGrand (and one tiny piece of PuggoGrand itself).
The audio is the original 1977 Dolby Stereo. I will be including a 4.1 (really 5.1, but the two rear channels will be identical like 4.1 with 2 surround speakers) extracted from the stereo with an LFE track encoded in Dolby Digital (ac3). As this is really a draft of something I am going to work on for a later, more complete release, the compression will be higher so the file size is smaller.

I hope to upload it no later than tomorrow so anyone who wishes can enjoy this somewhat flawed presentation of what Star Wars looked like on premier day.

RU.08 said:

yotsuya said:

Again, compared to what Lucas has done, what was done to Titanic is nothing. It is literally insignificant in comparison.

I don’t think it’s insignificant, remember most people are actually happy with the Special Editions, just as most people are probably happy with the version of 2012 Titanic, or the re-graded versions of The Good The Bad The Ugly and Jurassic Park.

What editing changes were made?

There were no editing changes made to the 1997 Empire Strikes Back and Return of the Jedi either, and of the two important editing changes in Star Wars, the Jabba Scene and the Luke/Biggs scene in the rebel hanger, I think most OOT fans actually like the second of those scenes.

From all the previous posts I’ve read, nothing was changed that affected he story or even the run time. Where even Blade Runner has been edited in ways that affect the run time (though he was nice enough to include the 4 previous releases if you bought the full set). And Star Wars has been edited with every new release going clear back to the original 77 releases (at least three effects shots were replaced after the film was released). JC just cleaned things up and tweaked some sky shots for the HD released. That is not a new thing to do. If that was all Lucas had done to Star Wars in 97, I don’t think this site would even exist.

The 1997 Special Edition was made under the same mandate. To remaster the badly degraded effects shots - optical wipes, the speeder scene through Mos Eisley, reduce visible black matte lines, etc. That is a restoration, but it’s not a preservation of the films.

JC has gons through a number of his old films and digitally “fixed” errors/mistakes/limitations of the originals, including Titanic. This transforms a film that was shot and edited entirely on film into something it’s not.

Anyway it’s fine if you like the 2012 version, just as it’s fine for people to like the Special Editions. All I’m interested in is preserving the original theatrical version.

My point was that your characterization of what JC has done to Titanic is an exaggeration. No, it does not preserve all the glitches, but he did not change the story. Lucas went through and recomposited nearly every wipe. He inserted serveral sections into ANH, a couple into TESB, and made some major changes to ROTJ. So the characterization that no editing changes were made to TESB and ROTJ is simply not the case. Editing changes were made to all three, while the most severe were mande to ANH, the other two did not escape undedited. The wampa, Cloud City, Vader’s departure, Jedi Rocks, the Sarlaac, and the Victory Celebration were all as major as Mos Eisley, Jabba, and Biggs.

And this isn’t something new. Lawrence of Arabia no longer exists in any of its original theatrical forms (mainly because none of them were the Director’s vision). It was remasterd in the 80’s into the Director’s cut and that is the only one I have seen since. It restored all of the studio mandated cuts for various markets, including having the actors come back to dub some of their lines where the audio had been lost. It was called a restoration because they restored all the cut elements per the Director. Other films have suffered similar fates over the years.

And I am all for preserving all versions. I am in the process of trying to ferret out all the alternate shots in ANH to compile what seems to be the original theatrical version that is only preserved in the less than ideal quality of Puggo Grand and the Moth3r bootleg tape. So I am all for preserving, but I do not think such extreme comments are called for when a director just goes in and cleans up his work with modern tools. Yes, preserve both, but there is no need to call such a minor tweaking (compared to what Lucas has done) a major reworking.

Possessed said:

yotsuya said:

Here are the differences between the 97 SE, the 2004 DVD and the 2011 BR versions. 97 and 2004 are in perfect sync except for Han/Greedo shootout. They edited it and changed the length. They changed it again in 2011, adding 4 frames (including the Greedo puppet) - they also removed 4 frames from the end of reel one to make the overall running time match. At least this is how the TB/G’kar mix I made worked out. To make the video and audio match, you’d want to lift the Han/Greedo audio from 2011 (or 2004 if you want to sync to that one). I can do it while I’m syncing the 97 DTS to the TB/G’kar mix. Good practice for extracting the audio from the 2011 DTS track.

While we are on the subject, anyone know of a good tool that will extract the multi-tracks (DTS/AC3/AAC) to mono waves and correctly label them? I had a very good tool for that, but it was on my old (currently defunct and in storage) computer. I have a way right now, but is is clumsy and lossy (I’d have to convert to aac and then import into Vegas).

Unless the dts mix I have is just missing a few frames the 2011 version also has extra blank black frames in the fade out while Luke and droids walk into the hut.

I may have mis-remembered which way the 4 frames went. It could be 4 cut from the shootout and 4 added to the fade out, but I clearly remember noticing it was 4 frames in both places.

Here are the differences between the 97 SE, the 2004 DVD and the 2011 BR versions. 97 and 2004 are in perfect sync except for Han/Greedo shootout. They edited it and changed the length. They changed it again in 2011, adding 4 frames (including the Greedo puppet) - they also removed 4 frames from the end of reel one to make the overall running time match. At least this is how the TB/G’kar mix I made worked out. To make the video and audio match, you’d want to lift the Han/Greedo audio from 2011 (or 2004 if you want to sync to that one). I can do it while I’m syncing the 97 DTS to the TB/G’kar mix. Good practice for extracting the audio from the 2011 DTS track.

While we are on the subject, anyone know of a good tool that will extract the multi-tracks (DTS/AC3/AAC) to mono waves and correctly label them? I had a very good tool for that, but it was on my old (currently defunct and in storage) computer. I have a way right now, but is is clumsy and lossy (I’d have to convert to aac and then import into Vegas).

RU.08 said:

yotsuya said:

You know, you are on a site devoted to Star Wars, so calling this subtle difference “obscenely revisionist” is taking it a bit too far. Now the Star Wars SE, DVD, and blu-ray could be called obscenely revisionist, but what Cameron has done to Titanic involves minor tweaks of the sort I wish Lucas had made to Star Wars.

There’s nothing “minor” about digitizing the whole film from the camera negative and then re-compositing everything. By comparison Blade Runner was digitised from the camera negative for the unedited shots, and from the master positives or intermediate negatives for all the shots with optical effects. And that’s standard now for a 4K remaster.

But I should note there was absolutely no reason to do an extensive restoration for a recent flick like Titanic anyway, all they had to do was scan the o-neg, grade it to the print, and release it. Easy peasy.

Again, compared to what Lucas has done, what was done to Titanic is nothing. It is literally insignificant in comparison. Terming it “obscenely revisionist” is extremely exaggerated. What editing changes were made? From all the previous posts I’ve read, nothing was changed that affected he story or even the run time. Where even Blade Runner has been edited in ways that affect the run time (though he was nice enough to include the 4 previous releases if you bought the full set). And Star Wars has been edited with every new release going clear back to the original 77 releases (at least three effects shots were replaced after the film was released). JC just cleaned things up and tweaked some sky shots for the HD released. That is not a new thing to do. If that was all Lucas had done to Star Wars in 97, I don’t think this site would even exist.

RU.08 said:

yotsuya said:

That is awesome for a raw scan of a print. I can’t say that the changes to this film bother me as they do for some films. I appreciate the removal of the out of place elements and the correction of the sky. Not sure why they changed the sky in the flying scene. I’d have to watch it and see if I like the new version or not. But as I don’t have this film on blu-ray and my copy is the original version on DVD, I would be very interested in seeing the final product.

The Bluray is obscenely revisionist. Have a look at the Title card:

35mm (optical compositing):

2005 DVD:

Bluray (“glorious” digital compositing):

You know, you are on a site devoted to Star Wars, so calling this subtle difference “obscenely revisionist” is taking it a bit too far. Now the Star Wars SE, DVD, and blu-ray could be called obscenely revisionist, but what Cameron has done to Titanic involves minor tweaks of the sort I wish Lucas had made to Star Wars.

I have a draft version. Actually, starting with the 1993 mix is a better because many of the mono mix edits were applied to that. Others were applied in the SE, 2004, and 2011 audio mixes, so a lot of the work has been done already. After finding out that all the of the stereo tracks are really matrixed surround sound, I decided to put off making a final version until I can extract the surround and center channels. Most of the edits would be to just the center channel (while making sure there isn’t any conflicting bleed through to the other channels).

That is awesome for a raw scan of a print. I can’t say that the changes to this film bother me as they do for some films. I appreciate the removal of the out of place elements and the correction of the sky. Not sure why they changed the sky in the flying scene. I’d have to watch it and see if I like the new version or not. But as I don’t have this film on blu-ray and my copy is the original version on DVD, I would be very interested in seeing the final product.

pittrek said:

yotsuya said:

pittrek said:

yotsuya said:

pittrek said:

I’d love to see the “original original” versions of the 1977 credits! Will you include also the cloudless composite during the “leaving Yavin 4” sequence for this version?
I’d love to see all the existing versions in “as good as possible” quality, so your plan sounds exciting.

I’m going for as complete as possible. Until someone gets their hands on some of the film elements to scan them, portions of the SE, TPM, and AOTC will never be better than enhanced SD. That is why I’m using the GOUT. Number one it is complete and number two it is essentially the same quality as the SE and TPM.

And I don’t have any element to make the cloudless composite. I’ve heard of it, but there really isn’t anything different in the versions I have in my library. I have several LD archived versions, but Puggo and Moth3r’s are the only ones so far that I’ve found with the different credits and the quality is such that I can’t see anything different.

Taken from here :
http://originaltrilogy.com/topic/Credits-and-Leaders-Thread/id/12960

‘Draft’ - 1977 opening day prints
pre-ANH widescreen bootleg (mthr)
pre-ANH bootleg ‘PS77-78?’ (AntcuFaalb)
16mm English (PuggoGrande)
16mm English (Catnap)

And this thread : http://originaltrilogy.com/topic/Print-variations-in-77-Star-Wars/id/14705
claims that

The “cloudy composite” version can be seen in:
35mm Widescreen bootleg (Moth3r)
35mm Widescreen bootleg (AntcuFaalb)
16mm (PuggoGrande)
16mm (Catnap)
Super 8 Derann
NTSC home video versions '82 - '92
PAL home video versions '82 - '91
UK ITV Broadcast version (1982)

Well, you have sent me on an editing spree. I found three shots (all effects shots) that are different - in each in reels 3, 5, and 6. I am still looking for others. But those are the same three the other thread discussed. As they all have imperfections and are archived in PuggoGrand, I think it is safe to say they would have been there on opening day. I will have to incorporate them into my edit. I think I’ll also use the 35 mm crawl. I think the fade out in reel one is also longer. I still have to check other versions before I confirm that. Right now I’m using JSC for the elements and confirming them with SWE and Puggo.

Not sure if you meant it as a good thing or a bad thing, but I’m personally glad you will include the changes 😃

Well, I was aware of the cloud shot, but I did not realize the fighter specs had completely different timing. I also had no clue about the other two shots. But now that I know they are different, I need to make a comparison video so I can watch it and see the differences and see if I can find any more. So the end result will be good, but in the short term it means reopening a project I thought I had finished.

Well, if it is just ANH, and mostly isolated lines, I might have to add it to the list of things to restore. If I do that, I don’t think I can resist restoring Beru’s lines to the mono mix version. As much as you are complaining about the mixing of the 2011 mix, her lines have always sounded horribly mixed to me.