I'm thinking of a taking a crack at making an open matte project based on a few sources but I'm confused on how people achieve such seamless blending. I consider myself pretty well versed when it comes to video and post production but fail to see how people combine different sources found online to create more picture.

In the example below you can see three sources. I have no idea how it's possible even with manual eye matching to blend these 3 sources perfectly. Also, are people doing this kind of work with every shot manually? Maybe this is more work then I signed up for!

I've read a few threads in here but fail to see how any software can algorithmicly combine sources perfectly without a human touch.

Any insights welcome!

The channel 'FX' aired movies on network television.  They would show deleted scenes in between commercial breaks and air different cuts of the movie.
Sometimes this stuff is seen nowhere else, which seems to be the case for Iron Man 1.

I remember a lot more time in the cave before the escape starts.  At one point, the fat guy that later says "shoot this dog" gets shot in the head and still re-appears later.
Longer holds and extra shots throughout the movie on the more technical stuff.

Has a TV rip of this ever appeared? 
Have any additional scenes not released on retail discs popped up in other cuts or rips?

Hi guys.

I recently finished a regrade of the true 1080p japanese bluray. The goal was to get rid of the yellow tint on some scenes and fix the brightness.

I used the Dragon Dynasty BD as a general source for color. And also the Criterion DVD as reference for the scenes that should have a yellow tint and the ones that shouldn't (the Criterion has cigarette burns, which means it's sourced from a print, although it looks like shit).


I managed to get the Laserdisc mono audio track, much better than all the awful multichannel remixes, and also the english subtitles from the the old ADC remux (true subtitles, not dubtitles).


Audio:

1.- Cantonese LD Mono. 2.0 Wav

2.- Cantonese DTS-HD Master Audio 5.1

3.- Spanish DD 2.0

4.- Cantonese AC3 5.1


Subtitles.

1.- Spanish

2.- English


Pics: Gallery (61 pics)  Gallery

The Elephant Man DVD R2 2.0 audio synced to UHD 4k Studio Canal.

More noise. More details.

Does this audio file appear to be Mono? I'm not sure. But it is the best audio I have found. Perhaps Laserdisc is better.

Criterion's Blu-ray audio is similar to UHD. It looks very muffled, a lot of filtered noise.

Hello!

You all might have seen my thread requesting LD audio for this one (if anyone has it), so I thought I'd post about the project as a whole.

This one is a collaboration with a few friends of mine. A relatively simple* project being done to fix the colours of the available uncut HD print (corresponding to the HK version) and add some good audio and English subtitles to it.

Here are the tentative specs.

Video - German blu-ray print. It features a heavier level of saturation than the Japanese blu-ray, but otherwise they use the same print. The German blu-ray is higher bitrate so the choice was made to use that one.

Audio - We're currently looking for sources of Cantonese mono sources for the Hong Kong print to consider. It will also feature the Cantonese track from the Japanese print (some music cues are different/differently ordered), the classic English dub, and a hybrid of the Miramax and classic dubs. The German BD does feature a 2.0 track but consensus is that it might be a downmix so we're hoping to compare it with others. 

Subtitles: based on those found on the Joy Sales DVD, which mightn't need much changing as that release actually featured a new translation (as opposed to others in that series that reused subtitles from other releases or just Google translated them).

WIP screenshots coming soon.

*'relative' because while we've spotted the saturation and will be able to fix it, the level differs from scene to scene. Some scenes look like this:



while some look like this:


Other than that, colours do seem mostly okay.

Howards End (1992) DVD R2 2.0 surround audio synced to German UHD 4k.

R2 United Kingdom - Odyssey Video
English Dolby Digital 2.0 Surround converted to PCM (FLAC)

Better bass.
Better sound.

PM to link.

Pather Panchali (1955) DVD-R2 Artificial Eye AC3 2.0 audio synced to Criterion BD
DD 2.0 to WAV to FLAC

More noise. More details.

This extended composite version of the movie Copkiller uses the blu ray and additional footage from two different TV broadcasts.

This version combines the official blu ray put out by Code Red with the extra footage from the Italian TV Version and one scene from the Hungarian TV Version. Initially I identified everything that was extra, then slowed it down to 23.976 fps, upscaled it to 1080p and ran it through some filters to reduce noise and remove some dirt and dust that was present.
These extra scenes (14 minutes in total) were then inserted into the Code Red blu ray, and the volume was adjusted so it isn’t too distracting when it switches between the different sources. Please bear in mind however, the additional footage is 4:3. Two people then helped me out by subtitling the extra scenes into English.

At the point it become apparent just how bad the transfer on the Code Red blu ray is. The colours look way off when compared to every other version, everything has this magenta filter over the top of it and black is never black. So I picked up a UK DVD of the movie and decided to regrade all the footage. All in all I used about a 100 different LUTs and this part of the process took a couple of weeks. It’s far from perfect, the Code Red scan itself has a lot of problems and the UK DVD wasn’t a great transfer, but I feel it’s a hell of a lot better than it was.

The Code Red blu ray also suffers with very bad sibilance, that’s the distortion you here sometimes when someone pronounces an S. This is actually the worse I have ever heard it so I ran the audio through a de-esser to try and remove some of it. Again it’s not perfect, if you take too much out it cuts part of the audio you don’t want to touch so it’s better to not take too much.

In terms of setup there are three options:

• English audio with subtitles during the Italian and Hungarian scenes
  
• Hungarian audio with no subtitles
  
• Italian Audio with subtitles during the Hungarian scene
  

Since Big Trouble In Little China is nearly finished (waiting on a couple last things before I can release a proper MKV), I thought I'd start talking about the next preservation on my roadmap. A movie that got me started into fan restoration work in the first place.

JohnCarpenterFan;15869547 Wrote:It is very interesting that you brought up Hellraiser.

I recently managed to get my hands on a well-preserved archival print, watched it, took some scans, made sure they were representative of how it looked correctly projected and compared it with the Arrow Blu-ray.

Be aware that I really liked the Arrow Blu-ray despite the peculiar grain, and didn't have any problems with the color timing... When I watched this print, I couldn't believe my eyes. This film when viewed on film looks absolutely incredible, very stylish, quite a lot of blue lighting. I had no idea this film looked that good, home video has just done it a complete disservice.

One thing I will say is that this print was not grainy at all, even in low-light conditions there was nothing out of the ordinary, I wasn't even aware of it most of the time.

When I flicked through the Arrow disc not long after, it looked flat and orange compared to what I had seen, it looked ugly and noisy. In the scene where the cenobites appear at the hospital, the room in the print appeared more blue with Pinhead's skin also being bathed in blue which helped draw attention away from the make-up, on the Arrow the room is more neutral and the make-up job on Pinhead really stands out. Also in a scene near the end (see last picture below), in the print, there's clearly blue lighting in the background and the characters directly in front of the camera are covered in a warm glow from a fireplace (IIRC), yet on the Arrow, everything is again flat and orange.







It was like watching the film for the first time. I'd love it if every studio/label took the Warner approach and used answer prints (or at the very least view multiple theatrical prints) to assist with color timing. This "Hold back on the colors/contrast, keep the shadows intact, make everything look natural" way of thinking has got to go. It's not purist in the slightest, in fact it goes directly against what film naturally looks like.

Regarding Zombie, finally got to sit down and watch the 4K restoration in full. This is an incredible disc, the colors are absolutely gorgeous, don't see why anybody would have a problem with them unless they've subscribed to that silly notion described above.

Blue Underground pulled off an incredible accomplishment releasing this and Maniac back-to-back. Almost seems like they're saying to the other labels "Just you try and beat this, I dare you." Very excited to see their future 4K remasters which I hear will include The New York Ripper and Dead and Buried.

Edit:

Should also note that the extra information on the top and bottom of those scans isn't part of the intended composition and was matted during projection. There is some information on the left or right (depends on which image) that was on the print that I didn't manage to capture due to equipment used and lack of time.

Hi all,

Is anyone aware of any software that can edit subtitles at the same time as the video? What I want is to take a movie with subtitles, "bind" the srt file to the movie somehow and then if I cut out bits, reorder scenes etc, every change is replicated in the subtitle track(s). So after the edit is finished, I still have correct subtitles. 

Does such a program exist? 

Thanks