So I was looking for Fortress with Christopher Lambert on Blu Ray and saw that the US and German blu rays are out of print and outrageously priced everywhere I look. There is a Spanish blu ray but I'm not sure about the quality. It's really the only decently priced option I have. I'm pretty sure it's a bootleg though. Should I take a chance on it or get the dvd instead?

Just discovered this:

MLP

A Dolby TrueHD demuxer and utility tool, with a focus on accurately and correctly demuxing a TrueHD stream from a decrypted blu-ray disc.

https://github.com/domyd/mlp

but it's a command line, and I'm lazy... is there any GUI for this, or other softwares (with a GUI too) that do the same?

Hello, I'm Johnny-5.

I had a few projects in mind, and thought this would be a nice place to post about and share them.

Looking forward to my time here. 

Hi guys, so I had this idea, just wanted to have more experienced opinions. So if a movie had a 4.1 theatrical mix with mono surrounds, but they were split and stereo-ized for the home video release to make it an upmixed 5.1 layout, if I combine the surrounds back into mono, will I restore the original 4.1 mix? Logically it should be doable, but technically? Case in point - Close Encounters Of The Third Kind (4.1 mix has been enhanced to 5.1).

With Shout Factory releasing Halloween 1 - 5 in 4k this year, they’ve announced the original audio for 1 -3, but not 4 & 5. If I can I’d like to secure the LD audio and have it synced and available by Halloween this year.

So if anyone has the audio and can send it to me I’d greatly appreciate it.

Looking for the 1973 Exorcist original mono mix from laserdisc or other thanks.

It's with a great pleasure that I announce that FanRes was cited in a book!

"Scrivere la storia, costruire l’archivio - Note per una storiografia del cinema e dei media"
https://books.google.it/books?id=FXkfEAAAQBAJ&pg=PA110

WOW, it's great to know that definition of Fan Restoration and others, as well as the Ultimate Aspect Ratio (UAR) concept are written on a printed book!

Proud to be founder of this forum every day more!

EDIT: this is the English translation (more or less correct) of the book pages involved:

Quote:    The numbered terminology found in the Fan Restoration Forum is even more complex.

    First of all you have the Fan Restoration, which aims to bring a film as close as possible to originally version released in theaters (this applies to films by which a digital edition is on the market). The implicit reference of this practice is therefore that of restoration, which can include a large variety of operations: "color regrading, frames/scenes replacing, aspect ratio correction, removal of scratches, tears, spots and dust, sounds/dialogs replacing/correction, entire sounddtracks replacing etc."

    However, the restoration meant here is operated on a single source (or at most on a source for the image and one for the sound), as it's clear from the comparison with Fan Recreation, where multiple sources are used in order to obtain a philologically correct version. Similar to the Fan Recreation is the Fan reMux, that is the assembly of different sources to get the best possible version of a given movie, without no restoration.

    The terminological choice is symptomatic of a certain one scrupulousness: reMux alludes to multiplexing intended as an assembly of materials, while the fact that Recreation involves restoration implies that the latter is intended as a creative act, therefore more open to discussion.

    If a certain version of a movie cannot be found in a digital edition, the practice of making a file to be shared is called Fan Preservation. In this case the principle is to preserve a manifestation of a film that otherwise it would risk being lost. If who makes it he tweaks it, you have a Fan Enhanced Preservation, while if you do restore it you have a Fan Restored Preservation. Anyway, Fan Preservations too involve the use of a single source: it is therefore digitized or "migrated" from an analog source.

    The Workprints & Bootlegs category is instead related to low quality recordings of alternate or rare versions that they do not arise from official or professional copies, differentiating themselves so from Fan Preservation.

    The Fan Extended Edition features adding scenes (or replacing original scenes with them) which, if combined with a restoration, give rise to a Fan Restored Extended Edition. This extension is based on usage of deleted scenes, therefore the fan's will is still limited because we are still referring to an original (think of an alternative ending originally hypothesized).

    The other practices move away even more from the concepts of preservation and restoration because the will of the fans is more conspicuous. The Fan Edit provides a new film editing which can include any material, as long as the the result consists of a "coherent version", narratively sensible.
    The Filmumentary is defined as follows by the creator Jamie Benning "a format [...] where the viewer can watch a film whilst additional material appears on screen including: deleted scenes, alternate takes, on set audio, text facts and information, audio commentary from cast and crew etc.", with the aim of "make the ultimate making of experience for the viewer." Similarly the Fan Bonus Disc is a collection of materials similar to that of the bonus discs present in the home editions video on the market.

    While the terminology is varied, the post author himself has it questioned after four years, noting the need to extend or modify it. Specifically, the user proposes to insert a "comprehensive category" for all those transactions that involve changes to the starting materials, which however neither respond to need for restoration nor does it involve modifications to the assembly.  He proposes to call these operations mod film or fan mod (where mod stands for modified). For example, some color gradings are made not in reference to an original model - as in the restoration - but based on the taste of a fan.

    Even more curious is the practice of what is called Ultimate Aspect Ratio (UAR), which results from the merge of multiple sources with different aspect ratios - looking to get the largest portion of the image possible: a Blu-ray edition could be matted to 1.78: 1 and show a small amount of extra frame on both sides, while an edition more obsolete could have another matte (1.33: 1) and therefore show conspicuous areas of the extra frame at the top and in the lower one. Therefore, the purpose of the UAR is to merge each frame of an edition with the same frame from another one.

After syncing the LD audio of TLW to the 4k blu-ray (replacing the pretty bad DTS:X remix) I'd like to do the same for JP 3. But since it was too new for a laserdisc release, I'm wondering what to use a source. I don't have the DVD to compare the DTS track, but I assume that's probably the closes to the theatrical mix that's out there. Is there some audio track from a release print or Cinema DTS version online I'm not aware of?

Any information would be helpful.