Because fanrestore is for the community, we thought a contest would be good. You have a week to come up with your version,
then submit your ideas to me through pm. Under Subject: please add "Logo Contest" when sending submissions.

On January 23rd, i'll post in this thread all the submissions with a number next to it. Everyone will be able to vote for their favorite logo.

Good luck and have fun!

Got any requests?

Pick any cartoon character or a character from fiction on odd misadventures and I will draw the picture of your pleasure  .

Quote:*Roboto dance*  

Any YouTube videos that have restored grain through software?

I am looking for a rip of the 1999 DVD of Full Metal Jacket. It contains the film in open matte, has the original mono mix and and has possibly more accurate and filmlike color grading. Also, make sure it has the original cover and not the Digitally Restored and Remastered edition. Please help by PMing me. Thanks to everyone in advance.

For availability for context - my restoration of the cut. Filled with un-used scenes, involving zigzags feet rub by the goons and unused elements, like princess yum-yum’s twin, Princess meemee. Clips and bonuses will be shown via Private message .
   

• Amazon [STARZ] Open Matte Theatrical Cut 1080p WEB-DL (16:9)
  
• spoRv's Fundamental Collection Open Matte (with his permission)
  
• BluRay Unrated Director's Cut 1080p (2.40:1)
  

I always have to go into preview to be able to use all formatting option when I post a reply. Please add formatting options to quick reply.

Thanks

Inspired by @Klexos' Wizarding World Ultimate Definitive Editions, I thought it would be amazing to restore Stanley Kubrick's films to 4K HDR with the full 1.37:1 camera negative aspect ratio.
@Klexos' phenomenal Harry Potter restorations have near-seamlessly combined the official 4K Ultra HD releases with AI upscaled versions of the open matte 4:3 DVDs and 16:9 open matte TV broadcasts to create the fullest presentation for each film in the highest quality possible. Each film varies aspect ratio between scenes due to the Super 35 framing of the films with the most common aspect ratio being around 1.66:1. AutoOverlay is used to composite the CinemaScope 4K UHD restoration on top of the upscaled 4:3 and 16:9 transfers, while gaps with the final composite in a non-square aspect ratio is made square by applying a blur filter on the gaps.

The following Stanley Kubrick films were shot in 1.37:1 to be cropped to 1.66:1 (Dr. Strangelove) or 1.85:1 (the other films) and are in 4K UHD and/or Blu-ray in 16:9 1.78:1 (except for Dr. Strangelove, which is in the intended 1.66:1):
 - Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
 - The Shining
 - Full Metal Jacket
 - Eyes Wide Shut

Their early DVD releases were in open matte 4:3 but these vintage SD presentations now look blurry on modern 4K displays and the current 4K UHD restorations look amazing. And the 4:3 1.33:1 images still have some horizontal cropping to fit the 1.37:1 image in a 1.33:1 picture.
So why not take a page out of @Klexos to restore the 1.37:1 presentations in 4K HDR?
Eyes Wide Shut is still not in 4K UHD but I have a feeling that it is inevitable and the other three 4:3 Kubrick films are already available in 4K UHD.
Dr. Strangelove's 4:3 presentations (like the Criterion LD) also have variable aspect ratios with the film shrinking to 1.66:1 for some scenes, I think there should be two variants of Dr. Strangelove: one with a constant width (1.37:1 shrinking to windowboxed 1.66:1) and one with a constant height (1.37:1 expanding to 1.66:1).

Each film can have their 5.1 remixes as well as the best quality version of the original mono mix (except for Eyes Wide Shut, which has always been in 5.1).
So:
Dr. Strangelove: 1994 US/Japan Columbia LaserDisc mono mix
The Shining: 1999 US DVD mono mix
Full Metal Jacket: 1999 US DVD mono mix

The final picture would be in 3840x2160p 4K HDR and 4K SDR image with a mostly consistent aspect ratio of 1.37:1 and blur on some sides that are outside the 16:9 and 4:3 areas, as well as HDR and SDR variants of Dr. Strangelove in the two Constant Height and Constant Width presentations, as well as cut-down European version of The Shining in addition to the extended US cut.

Their earliest NTSC DVDs would be the easiest way to get digital versions of the 4:3 open matte versions but PAL DVDs from a similar time period may have higher resolution picture and no judder at the cost of inferior audio thanks to our old PAL speedup and being harder to find.

Unfortunately, I have very little HDD space and I have a toasty toaster of a PC that has no hopes of AI upscaling films over two hours long from 480p to 4K.

These would definitely look especially amazing in CRT PC monitors like those fancy 2560x1920p ones.

P.S: I see that the 1999 DVD of Eyes Wide Shut is rated R unlike the later releases which are Unrated but they have the same length.
Apparently, the only change between these versions is that the orgy scene had some CGI to cover up some of the more explicit nudity in the R-rated version while the international releases had some alterations to the soundtrack.
The UK version is visually uncut but had some alterations to the soundtrack that are not present in the US and Australian DVDs, though it is indeed in 4:3 according to eBay listings.
I am not sure if the US Blu-ray has the uncut soundtrack either.
Ideally, the combo for Eyes Wide Shut would be:
 - 4K UHD (when it comes out)
 - Visually-uncut UK DVD
 - 4K UHD DTS-HD MA 5.1 audio (when it comes out and if it is uncut)

I recently stumbled across this:
http://www.film-tech.com/ubb/f1/t006686.html

Suggesting that the original theatrical prints of Hellboy had 45 seconds of silent black screen at the end of reel 5. This should occur immediately after Liz's powers 'explode' destroying Sammael. All home video releases have the screen black out but then almost immediately the next scene begins.

I can see how having a period of silent black here would add a lot of gravity to the sequence but 45 seconds really is a long time to be staring at nothing and would have most viewers yelling at the projection booth or reaching for the remote. Interestingly the cinema DTS track that I have for this movie does not have the 45 seconds of silence suggesting perhaps that later prints removed it.

I was interested in trying to put the black screen back in to the UHD and was wondering if it might be possible to do this losslessly. The point where the black should occur is on a keyframe so should it not be possible to encode a 45 second stretch of black video and 'patch' it into the movie?