Does anyone have this on VHS and have the setup to do me a nice capture of the audio? I have captures of all episodes released in NTSC format, but none of the PAL. As this is a PAL exclusive it's the one tape I really need. I own this tape but it's thousands of miles away in storage. I know others with it but no setup to capture with. If you can help give me a PM, thanks.

I'd like to read your opinions what is better

Single Channel Mono or Dual Channel Mono

Obviously SCM has the benefit of a lower file. So is there any real benefit to DCM?

I was wondering if someone ever created isolated tracks for all Superman movies featuring Christopher Reeve. I believe all albums already released are complete, so the work would be to adjust them to match the scenes. When the tracks can't be heard the movie would be silent.

Superman: The Movie (1978) has a music-only track, for the Director's Cut version only (theatrical and TV edits don't have it).

Superman IV: The Quest For Peace (1987) already has an isolated track that was created for a project (from Booshman) that included bits from the japanese laserdisc, the TORNADO and Battle in the U.S.S.R. scenes. I still have this file, a great job.

SUPERMAN II and III and their multiple versions all lack this.

In the past someone uploaded to Youtube the entire Superman IV movie, with the deleted scenes inserted into it, and this isolated score, naming these "The Quest For Score".

The videos were taken down and the channel deleted, so I could never find this again. I managed to save Parts 1-6, 8-10, 12-16, so files 7 and 11 are missing. However the quality was poor, in low resolution. One of the videos can be seen here:
https://www.bitchute.com/video/zODjuzt60wNT/

This is from a deleted scene with the 1st Nuclear Man, that for some unknown reason Warner at 2006 put this goofy soundtrack instead (see below):

https://www.youtube.com/watch?v=14PlrX35uB8

However in 2008 the Blue Box album with music from ALL movies was finally released (remember that Superman II and III only had a few tracks, and IV never had any release until then?), and we discovered, despite the mess this movie was, how good the Alexander Courage music could have been for this scene. 

About this specific scene (watch the Bitchute video): it's from a sequence that showed Clark and Lacy going to the Metro Club and dancing the night away, just before the entrance of the first Nuclear Man, which comprised another deleted sequence. Unfortunately none of the Metro Club scenes were included in the Superman IV special edition DVD or Blu-ray. Maybe they were destroyed or lost. We can only find photos from Christopher Reeve and Mariel Hemingway. 

There's a comic book from Superman IV (I also have this one, it helps explaining how the movie finally makes sense - one of the movie moments show a scene where the 2nd Nuclear Man asks "where is the woman" - this has a whole sequence that was cut, and it's better understood with this DC movie special *) that has a few passages from the Clark and Lacy at the Metro Club - these can be seen in the Bitchute link.

* https://dc.fandom.com/wiki/Superman_IV:_...ce_Vol_1_1

For this unavailable sequence (represented by these comic books screenshots) we listen to another music missing from the main movie, too: Life's Too Dangerous" by Paul Fishman.

So that means, despite that Booshman project I mentioned before (the 90 minute Superman IV - TV edit) I am also interested in a project similar to this "QUEST FOR SCORE" that was never found again.

About Superman II (theatrical, TV edit or Donner Cut) and III (theatrical or TV edit) I don't think anyone created an isolated film score for them. I don't expect Warner to ever do that. I believe it can be done with all the albums already available.

One thing I would like to point out is that Superman II and III first released tracks appear to be a little different (in terms of how they sound) from the Blue Box material and later 'La-La Land Records".

The first Superman II and III albums were of course vinyl/LP and a CD released in Japan in 1990, the latter with both these movies. The issue with the CD and LPs was the fact they only included A FEW TRACKS. A lot more material was missing, until Blue Box came in 2008.

More information about the japanese CD can be found here:
http://soundtrackcollector.com/title/26557/Superman+II

It's identified as Warner-Pioneer WPCP 3860. I have all other albums, except the japanese (only have as MP3, and for third movie) and the vinyl. If someone is going to create an isolated film score for movies II and III this person first needs to compare the japanese CD with what came later:

- Blue Box from Film Score Monthly (2008) and La-La Land (2018)

One of the tracks that I remember to have sound different is The Final Victory from SUPERMAN III (which is named The Struggle Within/The Final Victory in the japanese CD - 2 tracks into 1).

A word of advice: never assume all albums are created equal and that sound the same. They may improve them over time and remaster, but the final result might be worse and/or sound different. And even if they are all the same, they may also sound different from what you actually hear in the movie. That's why you should collect different releases and compare them.

I was wondering if someone ever created isolated tracks for all Back to the Future movies. I believe all albums already released are complete, so the work would be to adjust them to match the scenes. When the tracks can't be heard the movie would be silent.

Hey guys

Can anyone help out with the 1st Region 1 release of A Clockwork Orange?
It contains the movie in 4:3 and has the original mono mix.

Many thanks

Hey guys

Can anyone help out with the 1st Region 1 release of The Shining?
It contains the movie in 4:3 and has the original mono mix.

Many thanks

I have a question.
Complete novice here, so please excuse my blundering description of what's going on.
I live in a Region 1 nation and have a PAL VCR, a Panasonic NV SD270 player. Pretty basic model, I know, but it plays NTSC tapes. I am converting tapes to digital, using budget software.
Well, when converting a commercial release NTSC tape I noticed a “pop” at the extreme bottom of the screen. I have worked in traditional animation and have a very good eye for discrepancies, color pops being the indicator of a mistake that needs correction. So I had a look. There was a small area of detail, which persisted for a fraction of a second and isn't a fault in the tape, so I played back the capture to see what it was.
I used a software player that allows me to step 24 frames second to view the capture. Here's the thing. The “pop” (sorry) consisted of an area maybe 20 pixels square, with 5 frames showing detail against a black background. but each time I captured the motion it displayed a different set of frames. Lets call them A B C D and E .
First try       frames A B C     E, displayed
Second try, frames A    C D E.
Where B was present, D never was. When B was absent D was always present.
I repeated the capture 10 times and not once did all frames display. Just a fairly even split between the 2 options. Frame D had a small area of black surrounded by a fainter shade. In some captures the black area presented as a black square rather than a smooth circular area.
Replaying the capture , there was no discernible difference between the action on the entire screen, it appeared to run smoothly every time. But a clearly discernible difference between the behaviour of this small area. my perception being the result of checking and correcting literally 100's of thousands of animation cels.
Capturing at 25 fps or 30 fps made no difference
I believe that this section of the movie was sped up from the original filming speed, at least 2 times.
Filmed originally on Sony Betacam and processed using After Effects.
So does my Pal VCR play NTSC tapes at 30 (nominal) fps or 25? 
Is the discrepancy due to the 24 fps stepping of a 30 fps capture? When the same thing happened at a 25fps sampling rate.
Am I wasting my life obsessing over such a small detail. Probably, but that's how I learn and I don't get out much.
A little help here please.

Hi all,

Tying into some discussion we've had here recently, Bullet in the Head just turned 30!

I also read this interesting, but unfortunate news:

Quote:There were plans for a bluray release of this using a brand new source in full genuine HD. But the problem was the original film negative of Woo's original theatrical cut (136 min) was never found and is believed to be long gone by now. This led to all plans being cancelled.

Please delete thread.

I know it's 2020, but I guess I still have some questions that I couldn't quite figure out about Dialog Nomarlization on AC-3, THD and DTS tracks.

I noticed that on the majority of AC-3 and THD encoded tracks on commertial discs, when attemped to decode to wav/w64 with EAC3TO,  the program detects clipping and makes a second pass applying a negative gain to correct the issue. But it's usally less than the -4db Dialog Normalization standard.

- So my first question is, in case of such tracks, if Dialog Normalization flag is removed from an encoded track (EAC3TO default demuxing parameter), what would happen when played back and decoded by a regular consumer AVR product? I mean, will it occour in clipping?

My guess is that the receiver won't be able to perform such second pass correction on the fly. Is this assumption correct?


- The second question is, what's the practical implication of applying such negative gain, Does it affect the quality of the audio in any way?


- Third and final question, what about a positive gain (usually applied when setting the "normalize" option on EAC3To decoding process), does it have any negative impact on the audio quality?

In other words, is applying a positive gain is more "harmfull" than a negative one?


Thanks a lot for any valuable info!
I did a previous search on these issues, but couldn't find convincing answers. So what's better than couting on the knowledge of the great userbase here.