StudioCanal has announced that T2 will be returning to theaters for it's 35th anniversary today at CinemaCon.

"Terminator 2: Judgment Day (Restoration): James Cameron’s defining 1991 sci-fi action landmark returns in a meticulously restored presentation."
Source: https://filmthreat.com/news/cinemacon-20...tar-power/

There's already a few screenings set for May at high profile venues.
IFC Center: https://www.ifccenter.com/films/terminat...gment-day/
AFI: https://silver.afi.com/movies/detail/0100005493/
Academy Museum: https://www.academymuseum.org/programs/d...862eb8a547

Of course the big talk of this forum will be whether or not this will be a "new" 4K master or just the old one showing yet again. Personally I think it's just going to be the old master but either way I'm excited to see it if it comes near me. Thoughts from yall?

In 2010, Disney re-released Kiki’s Delivery Service on DVD. The English dub was reworked to be closer to the original Japanese audio, with the music and sound effects changed back. Unfortunately, it was very poorly executed. While I feel removing Phil Hartman’s ad-libs was a bit disrespectful, given it was one of his last roles before he was murdered, I can fully understand why they did that, as Jiji didn’t talk as much in the Japanese version. However, a bigger issue was how it made everyone’s voices sound like they were talking through an electric fan. It’s most noticeable with Kiki as Kirsten Dunst’s performance has a higher pitched voice. Every release since has used this version, even the GKIDS Blu-ray and 4K remaster.

I speculate that this is because Disney lost the original masters, so instead they used a pre-existing dub mix and violently ripped the vocals off of it with 2010-era audio extraction technology.

Needless to say, in the past decade and a half, audio extraction technology has jumped leaps and bounds, to the point the best ones out today are some serious CSI stuff. With stuff like UVR out there today that allows people with just home computers to make near-flawless instrumentals of songs, I thought to myself “why not fix the major issue Kiki had?”

The idea behind the 2010 audio mix, Hartman removal aside, isn’t a bad one. If done right, it would have been a “best of both worlds” dub with the Japanese score and the English dub audio. Indeed, the soundtrack alterations go against how Hayao Miyazaki intended the film to sound.

The models I used for stem extraction are MVSEP’s state of the art “Ensemble” models which mix and match various models to create the best possible vocal and instrument separation tracks.

The first release is a “purist” version with the ad-libs removed, effectively giving the 2010 mix without the “electric fan” artefacts. A “restorationist” version with the ad-libs reinserted will be released later.

When I first embarked on this project, I thought it was gonna just be removing a few lines here and there. What surprised me is that in the 2010 mix, some lines were retimed. For example, “Look Jiji, aren’t they beautiful?” when Kiki looks at the red heels happens a bit earlier.

This audio track is synced to the 2014 “Hayao Miyazaki Collection” MGVC Japanese Blu-ray, currently the best looking release.

PM me if you want a link to the FLAC file.

Sources used:

• 1998 Disney NTSC LaserDisc (for the 1998 dub, which was the best possible source as it has the English dub in Dolby Stereo without 5.1 upmixing)
  
• 2014 Studio Ghibli MGVC JPN “Hayao Miyazaki Collection” Blu-ray (for the original Japanese audio)
  
• Soundtrack CD (to patch in bits of the soundtrack)
  

Troy: Hybrid Yared–Horner Score Integration Workflow
Source Acquisition and Preparation

Imported the Troy Director’s Cut (1080p MKV) as the primary video asset.

Used FFmpeg to demux and pre-trim the film’s master audio stream to align with key edit reference points while preserving sync with the video container’s timestamps and codec parameters.

Stem Separation Processing

Split the trimmed film audio into stems using an AI-based separation platform (e.g., UVR or AudioShake).

Generated discrete channels for dialogue, sound effects, and score layers to enable independent gain staging and equalization in the mixing environment.

Reaper Project Configuration

Initialized a 5.1 multichannel session in Reaper, setting a 48kHz sample rate to match Blu‑ray mastering standards.

Imported dialogue and effects stems as fixed reference tracks to lock diegetic elements in place.

Established automation lanes for dynamic control of volume and EQ curves at crossfade points.

Score Integration Strategy

Maintained James Horner’s score as the structural backbone for non‑action and expository sequences.

Replaced and augmented select moments using Gabriel Yared’s rejected cues, referenced from high-quality FLAC masters for optimal fidelity.

Scene‑Specific Cue Deployment

Opening Sequence: Created a transitional blend — initial ~10 seconds retain Horner, fading into Yared until the kings’ encounter.

Achilles vs. Boagrius: Layered Horner for the lead‑in and aftermath, intercut Yared’s material during active combat via tempo-matched crossfades.

Spartan Feast: Applied Yared’s “Sparta” cue partially, maintaining Horner passages to preserve continuity in tonality and rhythmic momentum.

Romantic Scenes: Integrated “Achilles and Briseis” and “Helen and Paris” themes, balancing frequency ranges to prevent orchestral masking of dialogue channels.

Major Battles:

“1000 Ships” — synchronized with armada visuals using beat‑aligned cue mapping.

“D‑Day Battle” and “Battle of the Arrows” — replaced underpowered Horner tracks to emphasize percussive kinetic energy.

“Hector, Hector!” and “Achilles and Hector Fight” — implemented dramatic cue handover points using envelope‑smoothing automation.

“The Sacking of Troy” — spanned Yared’s cue across mid‑scene to near completion, intercut with Horner to maintain rhythmic consistency.

Funeral Sequences: Substituted Yared’s thematic equivalents for both Hector’s funeral and the Greek pyre sequence.

Death of Achilles: Added missing cue in later revision to complete the emotional throughline.

Audio Optimization and Mastering

Identified instances of muted or phase‑canceled mixing from prior version due to misaligned stereo field merging; resolved via manual waveform synchronization and phase-correlation analysis.

Applied multiband compression and spectral balancing across all channels to ensure tonal cohesion between Horner and Yared material.

Final mix rendered to a 17 GB MKV container using FFmpeg’s libx265 encoder for efficient H.265 video compression, maintaining lossless 5.1 audio multiplexed under libFLAC codec parameters.

This is really the first time I've done anything like this. It was a lot of fun though, and I really enjoyed Gabriel Yared's version a lot.

The most impactful parts to me was Yared's 'Hector, Hector!' and "Hector and Achilles Fight". With Yared's score, Achilles doesn't just sound like a mindless animal screaming for Hector. It's laden with deep sorrow and regret and immense pain. Totally changes the scene.

Hi

Found this thread (thanks @X5gb)
https://fanrestore.com/thread-5995.html?...blown+away

Found the track from russian tracker and checked it out -> found it to be superior to UHDs DTSMA.UHD is 24fps and German BLU is 23.976 -> decided to change the UHD fps.
Needs delay of +1335ms to synch.

Audio
Format : DTS XLL
Format/Info : Digital Theater Systems
Commercial name : DTS-HD Master Audio
Bit rate mode : Variable
Channel(s) : 6 channels
Channel layout : C L R Ls Rs LFE
Sampling rate : 48.0 kHz
Frame rate : 93.750 FPS (512 SPF)
Bit depth : 16 bits
Compression mode : Lossless

Hello guys I’m a dj and I love laserdisc and Blu-ray and movies ok bye!

The 2012 bluray mono is denoised and a little altered.
 It would be appreciated if I had a mono mix from any of the sources listed:

Laserdisc
Vhs
35mm print
16mm print

Anything before the 2000 DVD is good for me.

If you have any of these mixes, synced or unsynced to the 2012 bluray, please PM to me. Thanks.

I just decided to join this forum to learn more about fan restorations and the work that goes into them.

Greetings from Dominican Republic  !

I love film restoration, and I love the new Daria Restorations!

I just decided to join this forum to learn more about fan restorations and the work that goes into them.

Greetings from Bolivia!

Hello everyone,

I'm just a regular guy from Indonesia who loves to watch movies every now and then.
Currently, I'm hoping to find the Thai version of Ong Bak (the one with original Thai music), but may be interested in other movies.

Best of everything to everyone! Cheers!