Shoutbox archive
Do you know someone or somewhere that has the orignal score composed by Michael Hoenig and J. Peter Robinson ?
trying to search of initial airings of That 70s Show, particularly seasons 1 and 2, anyone know where I can get them?
Hey, curious, anybody got that Highlander II workprint that has floated around over the years?
Thanks, I'll try avysinth. Audacity slightly modifies the audio of each channel when I do "make stereo track"
Hello everyone, I'm looking for software to join 2 mono tracks on stereo. Adobe Audition changes the gain when I join 2 mono tracks...
The newest change to SW? https://www.youtube.com/watch?v=ZPGTM7WWUxQ I quite like it!
that's not a press release though. it's just a listing that a member of Blu-ray.com has submitted (i also do them from time to time). they list what the OAR is and what the aspect ratio is on the disc. The previous release has exactly the same ratio detail but does not contain two different transfers of the film https://www.blu-ray.com/movies/Full-Meta...ray/16672/
That's not what it says though. It says the OAR is 1.85:1 but the Bluray is presented in 1.78:1, it's standard, they won't have 2 versions.
It looks like Full Metal Jacket will be released on 4k both with 1.78:1 and 1.85:1 aspect ratio https://www.blu-ray.com/movies/Full-Meta...ay/262647/
AviSynth+ 3.5.0 has been released. It comes with native support for Linux, macOS, and BSD. I'm one happy dinosaur.
Yeah... all this is totally not worth splitting hairs over. I care about big differences, usually the result of upstream mastering choices. I consider even the differences between lossless vs. lossy 192 kbps AC-3 compression menial in comparison.
And after all, the whole point of dithering is that at 16 bit you get into the range where quantization errors become audible. The rule wouldn't make much sense otherwise
Or alternatively, rendering out the main audio parts without dithering (muting the patches etc or having them on a muted track) and then exporting the patches etc with dithering, and then just summing both files. though that seems a bit overly cumbersome, heh
Well, rules should be evaluated based on the context. I think dithering does make sense, as the dithering noise sounds better than quantization errors, however when you have a bit-perfect LD PCM track, then dithering is already applied to that, so you end up getting maybe double the amount of dithering and thus also more dithering noise in total. would make more sense accepting some quantization errors in the small patches
Hi. I can download untouched this movie https://forum.fanres.com/thread-2994.html
Probably both - I don't think I've ever A/Bed a truncated vs. dithered output. I suppose I do it because it's audio 101 that you should always dither when going to 16. It's not a rule I feel especially inclined to break when all this amounts to placebo-level differences.
I would assume - perhaps wrongly, I'm not an expert - that quantization errors shouldn't ever end up being louder than dithering noise, so if dithering noise is inaudible, so should quantization errors from rounding be.
Hmmm fair enough. Though one could argue about whether small patches justify dithering the entire audio file. To clarify, are you saying that you can't hear dithering noise or that you can't distinguish a dithered audio export from an undithered one at all? If the latter, why even bother dithering?
I use headphones for everything too. And when syncing, I always end up patching in bits from another source and that inevitably involves volume-matching - so a dither is necessary.
In any case I think dithering an LD PCM doesn't make any sense. Even if it gets internally processed at 32 bit, a mere syncing will not change the values, so they should just end up getting rounded to the original raw values when outputing at 16 bit again.
since under normal listening conditions even the background noise of your room will likely be louder than the dithering noise, depending on how high the volume is
Maybe it's because I tested it at a time where I listened to everything via headphones, that definitely makes a difference
I used to use MBIT+ religiously for everything until I realised it makes no audible difference to me. Now I just use a simple TPDF dither. Go with what sounds best to you.
I thought it was very noticable when I did some experiments, though I did set the dithering strength to high (using Izotope MBIT+ dither). Different noise shaping resulted in a different sound as well.
Unless you have super hearing, you're unlikely to ever notice the difference. I certainly can't and as I've probably shown I'm rather pedantic about these things.
@Moshrom Curious, why do you suggest dithering to 16bit instead of 24bit? At 16 bit, dithering audibly changes the sound, at least in quiet places, and depending on the dithering settings it ends up sounding different. It would make more sense for preservation work to dither to 24bit, since it will be practically inaudible. Or am I making a mistake?
Sorry, I recap then: AC3 and DTS, I edit in 24 bits on Audition. LD PCM in 16 bits with audition, on a session in 16 bits
And a bit I'm confused, Falcon. Earlier on, you were talking about AC-3 and DTS; now, it's LD PCM. Presumably, these are 16-bit tracks to start with.
If you are using AviSynth, you are fine. If you are using anything else, do what Moshrom suggests.
This is for PCM laserdisc tracks, the only modification I do is cuts and Crossfades (which last a few ms). I don't resample during my sync
You should always dither after syncing or any kind of mastering work. Never truncate directly. So therefore you may as well decode initially to 32f
Yes, I understood. By "output", I meant final output, i.e., a straight conversion to WAV with no syncing/processing intended. And my editor is AviSynth, so even if I were syncing, I could stay in 16 or 24 bit unless I specifically needed to do certain kinds of processing.
I mean, if you intend to do some syncing, you might as well go straight to the bitdepth of the audio editor
In which case you might as well just decode directly to 32-float (the internal bit-depth of most DAWs) and dither to 16 with the final mixdown
Yeah, equivalent precision should be 20-24 bits, so eac3to decodes to 24bit. The user can always add -down16 if 16-bit output is needed.
I've never been sure about bit-depth with lossy, the online consensus is that LD DTS is 20bit resolution but I'm not sure that is just an equivalence
I'd like to read that thread. There was even an attempt made to get the dev of MediaInfo to remove that field from its output (for lossy tracks) to stop people asking about it over and over again.
This message that I read questioned all of my beliefs about EAC3to 
I also thought that we should always decode lossy formats in 24 bits, but maybe the person was wrong, and that libav / FFmpeg is already updated on EAC3to
I also thought that we should always decode lossy formats in 24 bits, but maybe the person was wrong, and that libav / FFmpeg is already updated on EAC3to I'm desperately looking for this thread, it was a recent discussion, on videohelp, doom9, OT, fanres, I forgot ...
Thank you, but I just read a recent thread (here or on videohelp, or OT, I don't remember) where the person advised to update (libav I think) so that EAC3to decodes in 24 bits only if necessary, because it tends to decode in 24 bits even when it is not necessary.
There's nothing to update: lossy tracks don't have bit-depth. because they are encoded in the frequency domain. This is why eac3to decodes them to 24bit. You might have better luck with technical questions if you post a thread, rather than using the shoutbox.
I have a question: What should I update on EAC3to so that it correctly detects the bit depth (on AC3 and DTS)? Libav?
Hi, I have a CD DTS theater which is in DTS-ES : Corpse Bride in French. ES was therefore for home video, and theaters.
Was DTS-ES a Theatrical sound format like Dolby Digital EX was? Or was it home video only?
@titanic Read the comments on Moshrom's blog. It's the best that's available. I bought the Criterion BD partly because of it. It's just that it should sound better. https://blah-ray.blogspot.com/search/lab...%281975%29
^^^ Regarding the 2.69:1, I know the story behind it, but it still looks awesome, and I value the old R1 DVD for it.
What is wrong with Criterion's Barry Lyndon mono audio? I was thinking of buying that...
According to DVDbeaver, the 2.69 AR was meant for director John Sturges to mess around with to frame a 2.35 image in post.
@Moshrom Yeah, it's the pre-SE MGM R1 DVD, the one with the very wide AR (2.69:1 according to dvdcompare.net). It sounds all right, from what I remember, but it's been a while since I listened to it. I'll fish it out at the weekend.
To be fair, the only Kubrick on DVD that is master supervised are the original R1 box set LD ports (complete with original mixes), and the R2 EWS Snapcase open matte uncensored. The rest are just revisions on a master work.
Is that the R1 DVD from 1998 - how does it sound? Stephonovich will probably be capturing the Criterion LD once he sorts out his new bit-perfect setup.
Almost certainly. It **might** end up being the "Barry Lyndon" situation, in which the Criterion mono, although not brilliant, is the best of a bad bunch. I'm still hanging on to the original R1 DVD, partly for the AR.
The Great Escape is getting the Criterion treatment in May. A new 4K remaster with the original mono.
@PDB Your projects have shown there is more to res projects than just the upscaling 
I think that shot had crew and equipment visable in 4:3 but not in the widescreen version. Warner probably wanted to make that shot tighter in the new transfer so that it wouldn't reveal any crew or equipment blunders in 4:3 or 1.78.