Hi everyone,

I don't know if a lot of people are aware of this, so i apologise if this was already a known fact. But apparently the UK 25th anniversary edition blu-ray of 'Evil Dead 2' has a DTS-HD MA 2.0 track. It isn't listed on the back of my own UK copy, and what is also strange is when you go into the menu and look trough the audio options, you can select it as a "2.0 LPCM stereo" track.

I know it can happen sometimes.. that you own the region 2 blu-ray copy of a certain release and it does not include one (or more) audio options, like the UK blu-ray of 'Duel (1971)' not having the mono track, only the 5.1 remix. It can be quite annoying actually. But this time it seems it's the other way around, where the US release doesn't have a certain audio track. At least it looks that way when i check all the audio options via caps-a-holic for the US blu-ray: https://caps-a-holic.com/c.php?d1=10181&d2=10180&c=4088

Could anybody please inform me if this was already aware amongst the people here. I haven't been around here for that long you see : )
I think it sounds really good as well, especially when comparing to the (in my opinion shitty) 5.1 track. And A/B comparing it with a mono laserdisc rip they actually sound really similar.

And btw... wasn't 'Evil Dead II' originally released in mono?? (https://www.imdb.com/title/tt0092991/technical) because when inspecting the track in waveform you can sometimes see some sounds coming in from the right channel and vice versa..

And for anyone who only owns the region a blu-ray of this, just let me know if you're interested.

Guus
(Peanut32)

Something I've always wondered but was never able to find a good answer to. How was audio mixed back in the Dolby Stereo days? Did they mix a discrete 4.0 track and then just convert it to DS, or did they mix it as stereo with an understanding of what would get matrixed out to different channels?

Okay, it's a bit of a clickbait. The script actually just converts mkvs to mp4. However, it solves a problem that has always personally plagued me: Audio. How do you manage to end up with audio inside Premiere that doesn't require lossy compression? Convert to wav and import separately? Good luck with 24 bit 5.1 audio that will break the 4 GB limit on WAV files. Use W64 instead? Premiere won't import it. So, split the audio to individual sub-4GB wav files.

It's annoying as heck...

What if we could just have the normal audio losslessly inside the mp4 to begin with?

That's what this script does.

Hi all,

Like many I'm sure, I've been a long time lurker and thought it time to pop in.

I've fooled around with personal projects before, like amateurishly colour timing Silence of the Lambs and Hard Eight to match 35mm prints I saw locally to a proper fan edit of Full Metal Jacket (Why not tamper with the greats that need no tampering, right?) but nothing like the incredible work I've seen here.

I'm looking forward to, I hope, becoming a proper active member of this forum.

Best,
T

A once over.
Thank you for letting me wander around.

I have known for a long time that this channel is famous for its own 35mm film scans, but now there are not many recordings from there. An acquaintance of mine can record from two channels with broadcasts of films, he kindly agreed to help me with the recordings. Perhaps someone already has some kind of records, maybe someone will tell you what to write down, since there will be their personal scan, and what should not be written down.

So I have two different HDTV broadcast from PAL land and I'm have a devil of a time trying to convert them to standard 23.976.

Normally, I'd use assumfps in AVisynth for converting 25p to 23p but both of these are a little different. Mediainfo says both files are 25p but when I go frame by frame in MPC or VLC each frame seems duplicated. So it seems it is really 50p sped up to 25p?

Regardless I've tried everything I can think of to slowdown and delete. Actually the slowdown is easy, its the de-dupping that is hard. I tried T/decimate but seem to have not hit on the right formulation. Running slowdown in eac3to (or changing it in mkvmerge or tsmuxer) result in dup frames but at the right speed. Placing the files in Premiere de-duppes it but dumps good frames with bad.

So any idea from the fanres brain trust?

Just take a look:

French trailer:

https://www.youtube.com/watch?v=0wGlflmmeHI

[Image: 88ae5a2d41277a856e9fa52e00dda23ao.jpg]


Blu-ray:

[Image: f7cce6758d960b77f40cfb36ec6a8901o.jpg]


What happens here? I’ve always seen this movie with those reddish colors (I’ve only seen it on DVD). What a pity, I love this French movie! I hope I'm not the only one. I wonder if there will be any release with the theatrical colors.

Hey guys,

I don't know where else to put this, but I hope maybe someone else here can help me:
Sometimes it happens that DNG-files are broken after I'm trying to create a backup. Unfortunately not just the backup, but also the original file is corrupt afterwards, even though they were ok before. I have absolutely no idea why and when this is happening, all I can say is that I don't think it's a hardware-issue (e.g. broken RAM) since it already happened on two different computers with different hard drives, the only thing they had in common was that they were running Win 10 and used Windows Explorer for copying the files.

However, here's one of the broken DNGs: https://we.tl/t-3TG4XhE7Nl

Maybe it can be fixed somehow easily? Resolve just shows it as "Media Offline" and Photoshop says "Unexpected EOF" (End Of File) and won't open it. I already tried a workaround to add a dummy-file (I read about that here, but it didn't work either. If somebody here has an idea how it could be fixed I'd appreciate any kind of help.

Thanks in advance!

According to IMDb:

Quote:The longer 97 minute version, as originally released in theaters and released on video in the UK in the 80s, contains the following extended scenes:

• Extended shots of Kermit entering the El Sleezo Cafe where Fozzie is performing, after the James Coburn cameo.
  
  
• More of Fozzie being heckled in the bar. He honks a horn which falls apart, then says, "This is not my night."
  
  
• Extra shots as Doc Hopper and Max watch Fozzie and Kermit dance at the El Sleezo. A little bit more dancing and more of the crowd manhandling Kermit and Fozzie.
  
  
• An extended commercial for Doc Hopper's Frog Legs. More of Doc Hopper asking Kermit to be his spokesman.
  
  
• Extra Fozzie in "Moving Right Along." "A bear in his natural habitat - a Studebaker."
  
  
• Even more Doc Hopper trying to convince Kermit. "Shut up, Max!"
  
  
• In the church, an extended recap of the entire movie by Dr. Teeth - we see shots from previous scenes. It's not clear if this was actually in the version which screened in theaters, or if it was added for the video version, as the laserdisc version seems to have been edited on video.
  
  
• Doc Hopper and Max chase Kermit and Fozzie. Max asks what his cut of a million is. A whole extra car chase scene of Max trying to catch up to Fozzie and Kermit, and failing.
  
  
• An alternate musical arrangement of "Never Before, Never Again".
  
  
• Greatly extended version of Rowlf and Kermit dueting on "I Hope That Something Better Comes Along," with about two or three more verses. "A laddie needs a lassie." "Come Father's Day, the litterbug's gonna get ya."
  
  
• Extra shot of Giant Animal laughing at the bad guys (possibly deleted because Animal's fingers were thought to look unconvincing - just a guess from me).
  
  
• Extra reaction shots in Orson Welles scene.
  
  
• A lot more explosion and set destruction footage when Crazy Harry blows up the set at the end, before "Life's Like a Movie." Seems like padding really. It's set to circus-y music.
  
  
• Extended and alternate ending in the movie theater - Sweetums says "I just knew I'd catch up with you guys." All Muppets talk and say funny things over ending credits. Robin says Kermit is a great actor. Fozzie repeatedly asks if he was funny in the movie, but no one will tell him that except Kermit. Muppets are in character for the entire credits. Music is also different in this section.
  

Quote:Both laserdisc and VHS versions of the 97-minute cut used the same transfer: an open-matte telecine of a 35mm print done to a pair of 2" Quad videotapes, with the tape-change occurring around the 54-minute mark.  The telecine was slightly zoomed-in, which is fairly common for transfers of that age.  Unfortunately it was also suppressed-field, so it's fairly low-resolution.  It was, however, stereo.