Shoutbox archive
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.
the colour grading is diffferent as well https://caps-a-holic.com/c.php?go=1&a=0&...95&i=5&l=0
Looks like Warner zoomed in and DNR'd that shot in particular when they made the new master. Why DNR and cropping is anyone's guess, considering they're not well known for that as are Universal.
Anyone aware of the BD transfer fault for Tequila Sunrise during the third act of the film? Check it out compared to the Russian HDTV cap https://caps-a-holic.com/c.php?d1=3628&d...=7&l=0&a=1
Thanks... Sitting in the train to the airport right now... Seems if german train is just 5 minutes late... So it is called punctual for trains...
so guys.. I am off to some vacations... more than 2 weeks up up and away.. maybe I have internet on my mobile phone to, at least check sometimes in...
The first 2 are new masters, the others are upscaled from the 2K DI with better encoding, but 4 has some terrible (probably HDR related) blow outs
Does anyone know if I can find downscales of the 4K transfers of the Harry Potter films?
Had Fight Club a new mix for home theatrical releases? On the German BD with the DTS-ES 6.1 Audio it is explicitly mentioned that it is the original theatrical mix.
at least on eBay someone seems to sell a full screen version https://www.ebay.de/itm/362872596219
I'm also looking to find a DVD of Breathless, the remake with Richard Gere, where the open matte original 4/3 DVD version is said to feature extra nudity But those don't seem to be available in used stores.
But those don't seem to be available in used stores.That's interesting. I'm wondering if an IMAX like composite would be possible. I'm going to track down a copy, the P&S DVD goes for pretty cheap.
I'm pretty sure the credits+opening title sequences on the Brosnan films were shot Super 35, so they could be shown in 4:3 without cutting off names or vertically squeezing. Die Another Day allegedly had some sequences shot in Super 35 such as the helicopter shots, and apparently the CG FX shots were rendered in 1.78.
Mostly on the left side, if I recall. To the point where it just says "OTHER DAY".
When I rented that one a couple years ago, I recall most of the feature being notoriously cropped.
Does anyone has ever bought Die Another Day 007 DVD in full screen? I'm trying to find out if it's open matte, or just cropped. Thank you.
Hah, didn't realize they had predicted Fox would be bought: https://www.youtube.com/watch?v=8ltQ_2by2UY
I'm sure we will find out this has all been predicted in the Simpsons at some point 
Not quite over a hundred - 20th Century Fox was created in the '30s with the merger of 20th Century Pictures and Fox Film
How Roger Deakins Conjured the Dystopian Darkness of 1984: https://www.youtube.com/watch?v=biSuar8ATAg
The original release is pretty bad. I did a quick colour correction on it myself because is looked so bad but I never rendered it out as a final video.
There are 2 versions of Knock Off available in Germany There was a 'remastered' one released recently. Ive not seen it but I read it uses the same master just altered / improved upon.
Anyone familiar with the movie Knock Off with Van Damme? Apparently it has no Blu-Ray. At least no Blu-Ray released in the United States. The picure quality is awful. It definitely needs a remaster
I also confirm. Team Blu have used the remastered BR for their release. My go-to since then.
@CSchmidlapp yes it was my go to for a while, but tbh I haven't really watched it at home since catching it on 35mm