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.

Title: Out of Africa (1985)
Format: DVD - Collector's Edition - Universal (2000)
Synced to: 2012/2014 Universal Remastered Blu-ray
Input Soundtrack: Dolby Digital 4.1, 16-bit, 48khz
Output Soundtrack: FLAC 4.1, 16-bit, 48khz
Ripped/synced by: NeonBible

Initially discussed on @freedomland 's post.

in70mm Wrote:The 70mm prints of “Out of Africa” featured pillarboxed imagery (approximately 1.85:1) blown up from spherical 35mm and Six-Track Dolby Stereo (“A” encoded “baby boom” format).

EDIT: Moderators, feel free to remove this thread since it's served its purpose.

Things might be looking a little brighter up ahead and I want to send a huge thanks to everyone who helped us, be it by money or kind words. We're closing the fundraiser since we might be able to make it on our own soon.

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Hey everyone.
I posted this on originaltrilogy in april and I think a lot of people have moved on to this forum so maybe I'll reach all the old friends here.
In a way I feel ashamed to post this here too but on OT I got much love and positivity in response that I think it might be worth a try.
I'm going to copy-paste what I posted there and hope some of you might recognize me.
Take care of yourself, all awesome movie-lovers!
PS: A huge thanks to all of those who donated over at OT. You helped us pay for about 3 weeks worth of groceries!
/You_Too


Hi everyone.
When I came back and made some comments in the Fellowship Of The Ring color restoration threads some people seemed happy to see me and it just felt great. I got some PM’s too and it all just felt like I was an old friend who returned from a long holiday. With everything that’s been done since I was around I didn’t think many would even remember.

Some may even think I have something against them since I removed all Facebook friends a few years back in an anxiety attack after my half-sister told me she never wants us to have any kind of contact anymore, simply because I’m ill. Society considers me dead weight and so did my own sister which I forgive her for, of course. At the same time I just quit contacting the few people I had a bit closer contact with as well, like Dark Jedi who I worked with a lot here on OT and a few others who I can’t remember the usernames of. Real life was just too much to allow for social things on the internet so I thought: “If anyone really wants to contact me they will.” In fact, the more social contact I had the more tired I got. In the end, what hurt most was that people who used to be my closest friends in real life quit contacting me just because Facebook didn’t remind them of my birthday anymore or whatever. (I don’t care about birthdays but you get it!)

I have no idea how this thread will be received. Probably with mixed reactions. I don’t even know if I’m allowed to post something like this around here but the guidelines didn’t seem to have anything against it.

I tend to type walls of text so unlike what I’m about to link I’ll keep this short: Someone you might or might not remember is in a very, very bad situation right now and it will only get worse. You can read about it here: https://www.gofundme.com/f/help-us-survi...s-overleva

I didn’t create that fundraiser to force people to donate because they might know me or anything. In fact, I haven’t sent it to anyone except I posted it at the Ehlers-Danlos Support Group on Facebook but all members there are fighting the same fight more or less and I think they would all need donations.

I remember people used to donate to Poita to be able to buy 35mm scans from Ebay and then he shared the results with everyone, it was great! I’m not sure if anyone ever asked for a personal donation but here I am.

At the same time I’ll make this very clear: Even if you read my and my mother’s story you don’t have to donate. If you believe in anything, pray for us. Just leave a heartwarming comment. Anything. Money isn’t everything though sadly, it’s needed way too much.

Also, if you wish to donate but can’t use that website, the following works too: paypal.me/YThelpus

Either way, kind words, donations, they will all be worth the same and I thank you all in advance. And I thank you all for the past experiences around here. You really made me feel appreciated. Thanks and God bless you all! And may the force be with you.

(Should this thread violate any rules then please, simply remove it)

EDIT: From now on, all donations will be invested in a once-in-a-lifetime opportunity which I've spent lots and lots of time digging into. While I'm not allowed to share any information about it, I can only tell you that it's me and mom's last chance at getting a life again.

Hi guys,

So I'm puzzled by this weird stuff I'm trying to sort between FCPX and Adobe Premiere pro.

I have a film H264 23.976 file, that I reencoded from VC1.

It's length is 01:42:29:17 when imported in FCPX.

When I create the 23.976 timeline, and drop the file in, the length comes at 01:42:23:08

When I create the 29.97 timeline non drop frame, and drop the file in, the length comes at 01:42:23:11

When I create the 29.97 timeline with drop frame, and drop the file in, the length comes at 01:42:29:15

Now I use Adobe Premiere, with the same file.

It's length is 01:42:29:12 when imported in Adobe Premiere.

When I create the 23.976 timeline, and drop the file in, the length comes at 01:42:29:12 although when I double click the file in the timeline, it says it's 01:42:29:11.

I supposed to use this file to sync LD audio. How do I do it right? Which one to use?

Thanks if anyone can help.

Sometimes I visit other A/V forums (I'm guilty, your honour!) and reading some threads/post, I think how lucky are we, in this forum!

Here, muxing audio tracks from different sources is the simplest thing in the world; capturing bit-perfect audio from LD is a joke; even color regrading is a task that many are able to achieve...

And there, they see at a poster that muxed an Atmos track from UHD with the 3D video track from BD as a hero!


Often I was almost there to post and say "C'mon, be part of our forum, you will be amazed!" but I stop... should I go forward, next time?

(if only they knew it's possible to get Cinema DTS or laserdisc AC-3 bit-perfect tracks, their head could explode!)

I was making a list of future projects I wanted to do and kept seeing the same name come up - Buena Vista Pictures. Looks like they have a habit of only releasing theatrical editions of movies on blu ray that have extended/director's cuts on DVD, especially 90s movies. 

Con Air
Gone In 60 Seconds
Crimson Tide
Enemy Of The State
Pearl Harbor
Tombstone (DC already done by PDB)

Am I missing any more?

Also oddly the blu rays for several of them feature 5.1 LPCM audio which I don't think I've ever seen with other distributors. Must take up a massive amount of space compared to TrueHD or DTS-HD. Anyway I read a couple of reviews, particular for Con Air and Gone in 60, where the reviewer mentioned the audio seemed off in places, particularly directionally during action scenes etc. So I'm beginning to wonder if they've been remixed for blu. Or maybe that's how they were theatrically?

Looking around I can see:

Con Air - Laserdisc as AC3 and DTS - AC3 is very cheap and DTS very expensive
Gone In 60 Seconds - never on Laserdisc - maybe Cinema DTS track?
Crimson Tide - Laserdisc as AC3 and DTS - AC3 is very cheap and DTS very expensive
Enemy Of The State - Laserdisc but very expensive, seems to be quite a rare one
Pearl Harbor - never on Laserdisc - maybe Cinema DTS track?

Anyone got any of these? Or know if Cinema DTS tracks are available? For Con Air and Crimson Tide I'm happy to pick up the laserdiscs and gift them to anyone who can capture them. 

Thanks