Hey everyone,

MagnumSky here! I’ve been lurking around the fan preservation scene for a while and finally decided to create an account and jump into the community.

My interest in preservation comes down to a deep appreciation for theatrical authenticity original color timing, raw 35mm/70mm film grain, and unaltered audio mixes. Modern studio DNR and revisionist color passes just don't cut it on a big screen!
I run a dedicated Jellyfin library (my "Celluloid Vault") feeding a 4K projector, so I’m always on the lookout for pristine theatrical scans that preserve the cinematic experience the way it was meant to be seen in theaters.

Excited to learn more from the community, keep up with ongoing projects, and support the incredible work you all do here!

Hi everyone!!!

Hello i am a new film enthusiast

1992 LD [LV 1643-2WS] PCM 2.0 decoded into 5.0 using a Shure HTS5300.  Synced to the UHD and saved as FLAC.  Classic mix.

FWIW, the DVD AC3 5.1 syncs up to the UHD using a delay of +1124ms.

A note on the recording process:
Panasonic LX600 digital out goes to an ESI U24XL.  The U24XL's stereo analogue outputs go into the HTS5300.  The HTS5300's L-C-R-SL-SR outputs go into an ESI Maya44, which is recorded in Reaper at 44.1khz.  Each disc must be recorded twice since the Maya44 only has 4 inputs.  The first pass records L-C-R.  The second pass records C-SL-SR.  Both passes are then synced together in Audacity by matching the two Center recordings.  The resulting 5 channels are then synced to UHD audio.  Finally, an empty LFE channel is added for playback compatibility (I prefer to let the AVR handle the bass management rather than record the HTS5300's LFE output).  The mix is peak-normalized as a whole to -1db thus preserving the channel balances while increasing the overall gain (the volume output on the Shure is kept at a conservative level to avoid the possibility of clipping), then exported as 48khz 5.0 FLAC.  The two ESI units are operating on separate computers to avoid ground loop hum and interference.  There might be an easier way to do all this but this what I had on hand to work with.  

Normally, I would prefer to record a mono surround in a simple 4.0 but so far as I know, besides lowering the volume pot on one Surround channel, there's no way to stop the Shure from doing it's surround magic, so I was afraid that recording only one surround channel would be detrimental to the overall cohesiveness of the sound.  Maybe downmixing the surrounds into mono after the fact would be more "accurate" but I don't think it makes much difference; its not like the Shure is suddenly making the surrounds completely discrete.  

Hello! I am a huge fan of that Tim Burton Batman film. I am really glad to be here!

Hi! I’m glad to part of this forum. The reason I came here is to find and listen to the original audio mixes of movies, whether it be from Laserdiscs, DVDs to an extent, etc. I look forward to seeing what’s on here and hopefully I will get something out of joining this community.

Through use of search engines and AI I've recently become slightly more familiar with the myriad of fan projects, restorations, and cuts of some of my favorite movies. This research led me to websites like FanRestore, among others. Thank you to the administrators and/or moderators for creating and running a website such as this. It's cool to see that their are still forums such as this up and running. I look forward to seeing some of the work people have done.

Thanks for having me

Looking forward to participating in the Fan Restore forum ... looks a great community.