Hello Community,

Performing citizenship duties as new member.

had some previous experience as a film and video technician for an east coast film university (past life and SMPTE member), but currently do electrical engineering which is unrelated to film.

I would be very interested to find out more about progresses made in scanning.  my previous experience was mostly transfers to video tape for 16mm documentaries we had in our library.

Questions:
1. is there a consensus on type of equipment members scan on?
 - modified aerial optical printers with slr cameras
 - "Hacked" commercial still camera strip scanners
 - liquidated cine-film scanners from transfer houses?

(note, my previous experience included some antiquated approaches, like video taping from a 5-blade projector to avoid scan lines.... "film chain")

2. is exposure and focus racking performed in these scans?
 - one discovery made on my past projects was that the film strips had "depth of focus" (as opposed to depth-of-field when the picture is taken)... as the film had layer depth to the emulsion.  I used to do multiple recordings while racking the focus live to get the "suitable" subject matter in focus.  wondering because I have been to recent film screenings where the projectionists seem to neglect this issue and I see a bunch of background items in focus instead of the main character.

look forward to discovering more, thanks

Hello, my name is Evan. I'm 23 and a lifelong fan of movies, specifically horror films and animated films.

I've lurked here for a while but never posted anything. I love physical media, AV gear, home theater, and I'm a purist when it comes to films, finding the releases with the best picture quality, best mastering of original mixes, etc., and that's precisely why I'm here!

Hey everyone,

just wanted to say hi! Looking for jp and lotr restorations

Hello

Greetings!

My main interest is TV Shows that were filmed and deserve a 2K or 4K release, such as The Munsters (1966) or Wild Wild West (1965).

Looking forward to many interesting discussions.

Hi everyone,
I'm ne0phit, from France, and I've been passionate about films, home cinema, and video quality for many years.
I maintain a fairly large personal movie collection and spend a lot of time comparing different masters and releases, especially when it comes to Open Matte versions, alternate aspect ratios, restorations, fan-made preservations, hybrid sources, and carefully made upscales.
What interests me most is not simply having a file labelled “4K”, but understanding how it was created: which sources were used, how different masters were combined, whether details were genuinely recovered or artificially generated, how grain and color were handled, and how much of the original image can be preserved.
I'm particularly fond of Open Matte presentations and projects that recover additional image area while respecting the original photography. I also enjoy comparing commercial releases with fan restorations to understand the strengths and compromises of each version.
I discovered FanRestore while researching some Open Matte projects, including Hitcher's work on Inside Man (2006), and quickly realized that this community goes much deeper into restoration and preservation than most places I've encountered.
I'm here primarily to learn, discover projects, exchange information, and better understand the techniques used by the people creating these restorations.
Looking forward to exploring the forum and learning from your work.
Cheers,
ne0phit

Hi, how's it going. Interested in fan regrades, theatrical audio, and especially 35mm restorations

Hey, guys.

Is this common knowledge? While discussing multichannel audio editing in DaVinci Resolve with Gemini, this came up:

When editing audio tracks, there's an invisible digital trap regarding the LFE channel. If you do not correct it during your editing phase, your final export will lack punch, and your subwoofer will sound completely flat. Here is why it happens and how to fix it.

1. Why is there a -10dB difference?
- In movie theater / mixing stages: to prevent extreme sub-bass frequencies from clipping and distorting the digital master track, the industry standard (Dolby and DTS) dictates that the LFE channel is recorded on the disc 10dB lower than the other 5 channels.
- On playback: your home theater AV Receiver automatically detects the movie track and boosts the subwoofer output by +10dB to restore the correct theatrical balance. Everything sound perfectly heavy.

2. The trap in video editors (DaVinci Resolve, Premiere, etc.)
When you extract a DTS-HDMA track to uncompressed multichannel PCM (WAV) using tools like Shutter Encoder or eac3to, you get raw digital audio streams. When you import these 6 separated mono tracks into your timeline, your video editing software does not know track 4 is an LFE track. It treats it like a regular audio track. If you edit, crossfade and export your project as-is, that 10dB attenuation becomes permanent in your new file. Your final AV Receiver will not boost it, and your mix will lose its cinematic rumble.

So basically, when editing a track you ripped from a DVD or Blu-ray that you converted to PCM to work on, you must take into account that you'll have to boost the LFE channel by +10dB.

Which version of the Dolby Stereo track is better, the Scream Factory or the Arrow Video?

Bonus question I am asking for answer for: Is the Scream Factory or the Arrow Video bluray better in video?

Hi everyone! I’m new to the fan restoration community and recently came across FanRestore while looking for high-quality restoration and fan edit projects.

I’ve always been a big movie fan, but I’m just starting to explore the work people are doing to restore and improve different releases. I’m especially interested in projects that preserve the best presentation of a movie while improving things like picture and audio quality.
Looking forward to learning more about the community, discovering some great projects, and seeing what everyone has been working on!