According to the lddb, the Criterion LD was the last edition to use the original mono audio track:

https://www.lddb.com/laserdisc/03860/CC1...al-Edition

All releases since have utilised an altered version, even the Shout! Factory edition and the Arrow edition. Arrow posted on fb that they searched MGM archives high and low, and were unable to find the original mono mix.

So I was wondering if any of you might have a copy?

Hi everybody,

I'm a movie fan from France. I write in english every day, although it's not my native language.

I found this forum googling info about KK650's "The Fellowship of the Ring" regrading. Google led me right to this topic : https://fanrestore.com/thread-2239.html

I am a big music / movies lover, with about 1000 CDs and about 700 movies.

90% of them have now been ripped to my file server with about 8 TB of storage. It's a long and painful process, but ultimately it's worth it.

I use foobar2000 as music manager AND also as video manager (work in progress).

I use MPC-HC and MPV as video players (VLC comes after).

I guess that's all for the moment

Jose

Does anyone know where I can find this logo:



Damn Warners wiped their classic logo's from like 90% of their HD releases. It's the static Warner, scope logo post Saul Bass logo, mid-80s on.

It appears to be number 11 here:

http://annyas.com/screenshots/warner-bros-logo/

(Hey, I'm at 3000 posts, that's neat and shocking at the same time)

does anyone have the Laserdisc PCM 2.0 Dolby Surround mix of Backdraft? I would love to sync it to the Blu-Ray/DVD Version!

I've been asked a lot of times to outline how to make a high quality film scanner.
There are multiple approaches to this, and I keep putting it off, so this is a Work In Progress thread, where I will bash out the concepts, and with some feedback from everyone as to which approach they would prefer, we will put together a guide.

Again, this is going to be a bit of a mess in this thread, and at the end of it, I'll put together a proper guide. In the meantime, I will keep editing this first post as I get time.

So, let's get started.

OVERVIEW.
We need to take film, move it through a film gate, and take an image of each frame and store it for editing later.

Basically, there are three main approaches.

1) Frame by Frame Scanning
2) Realtime Continuous Movement Scanning
3) Realtime Intermittent Scanning

We will get back into these later, but let's take a look at the hardware options.
Again, there are a few ways to go here.

FILM TRANSPORT:
We need to be able to move the film through the scanner so we can take an image of each frame. This needs to be fairly high precision and robust, we will be scanning 175000 frames or so for each 2hr movie.
Some of the options are:

1) Build from scratch, using 3D printing and traditional tools.
2) Use an existing projector for the film transport (i.e. to move the film)
3) Use another piece of existing cinema equipment such as a camera or film editor
4) Use a flatbed scanner or similar.

SENSOR:
This is the 'Camera' that takes the image of each frame. It really can be anything that can capture an image, but the main requirements are that it has a really wide dynamic range (to be able to capture detail in the shadows and the highlights), be consistent with exposure (this usually means global shutter) and can be controlled or synchronised in some way with the film movement.
The sensor can be mono or colour.
With mono you will need to do three exposures, one each for Red, Green and Blue. This can be with separate R,G,B light sources, or white light and RGB filters.
With Colour you will need a full spectrum light source, such as Halogen or a very high CRI white LED source, or with an array of Red, Green and Blue LEDs.
You may also want to get a sensor that is sensitive to Infra-red so that you can capture a damage matte. Colour film is invisible as far as Infrared light is concerned, so the film appears perfectly clear in that light. This means the only thing captured in infrared is any dirt or scratches or damage. This makes it easy later to use the infrared image as a mask for digital cleanup later.

1) USB3 Machine vision cameras with external trigger option e.g. Point Grey Grasshopper/Blackfly etc.
2) Realtime Cine cameras e.g. Black Magic Production Camera 4K
3) Stills cameras e.g. Nikon/Canon/Fuji/Sony/Pentax with electronic shutter
4) Video Cameras

LIGHT SOURCE

This is really super important. There are a few ways you can go as mentioned above in the sensor section.
One important consideration is that the spectral response curves of your light source attach the spectral response of the sensor/camera you choose.
Otherwise you will not be capturing the full range of colour that is on the film.
Another consideration is heat, you don't want to damage the film, so either use LED light sources, or halogen with a 'hot mirror' (e.g.) https://www.edmundoptics.com/f/hot-mirrors/11665/
Also, you want the light source as diffuse as possible, this minimises the scratches showing up on the sensor. A truly diffuse light source can be nearly as good as a wet-gate in removing scratches on the base of the film.
The most diffuse light comes from an integrating sphere, you can build your own via 3D printing or using holy styrofoam spheres that you buy from a hobby shop.
You can also use a diffusion filter, holographic ones are the best (e.g. https://www.edmundoptics.com/p/25mm-diam...-kit/8212/) but ground glass or 'opal glass' filters also work well.

Intermittent vs Constant Light

INTERMITTENT LIGHT:
If you are going with LED, you can either keep the LED on all the time, or only turn it on when you want to capture an image. This is known as 'Flash-Scanning'.
The advantage of flashing the light source is that you don't need big heatsinks for the LEDs as they are only on for a fraction of a second at a time. You can also use the duration of the flash to control the exposure, negating the need for a shutter. You can also flash the Red, Green and Blue LEDs separately if using a mono sensor.

CONSTANT LIGHT:
You want to drive the LEDs with a constant current, so that the light does not flicker. The best white LEDs for film work come from Yuji https://store.yujiintl.com/collections/frontpage

I will add more to this section later.

LENS
This is just as important as the sensor. The lens needs to be flat corner to corner and free of chromatic aberration. Working distance (how close the lens needs to be to the film) is also a consideration.
The best lens for this work is a Nikon 105mm printing lens. These are hard to find, and often sell for around $2000.
Next best is the Schneider/Componon-S 50mm enlarger lens, it can be found for under $100 sometimes on ebay, but requires the lens to get very close to the film, which can be a problem if using a projector as your film transport. The 80mm or longer lens lets you get a bigger distance from the film, but they aren't quite as sharp.
I will put some other lens recommendations here.

STORAGE.

This is a real issue. Storing a 2hr feature at uncompressed 4K,  in deep colour, with infrared damage matte take around 21TB of hard disk space.
Storing in something lossy like ProRes 4444 takes up considerably less space, you can fit a feature onto a single 4TB HDD.

If capturing realtime via USB3, you will need very, very fast storage, either a SATA SSD RAID or a fast NVME SSD, and a PC that is fast enough to keep up with processing.

Capturing to a BMD camera or other camera a frame at a time, you can use the internal camera storage, and then transfer to a PC once it is full.

FILM GATE
Dry vs Wetgate.
Keeping the film flat

FRAME SENSING:
Sprocket detection
Hall Effect Sensor on shutter mechanism


TRANSPORT
Film Tension
Rewinding
Sprocket vs Capstan

CLEANING
Physically cleaning the film makes a huge difference. Isopropyl alcohol (98% pure or better) is safe and works reasonably well. Perc works better but is dangerous (can be sourced from dry cleaners) , there are newer cleaners available from 3M that are safe.
Filmguard is not good for cleaning, but can be applied during scanning using a Kelmar style film cleaner. This can work effectively as an alternative to wet-gate as the film-guard fills in the scratches and has a similar refractive index to film.



That is all for this morning, I just wanted to get this started so I don't keep putting it off, consider this post a skeleton that I will continue to fill in when I get time.
Feel free to post questions and suggestions in the thread.

When I'm viewing this forum on my iPad in landscape mode (1024px width), it loads the mobile version of the site. So everything looks huge!

Is it possible to change the breakpoint so it only loads the mobile view on maybe devices which are smaller than 768px perhaps?

I am looking to get a particular movie that is available in these country's iTunes, and not available in the US and a few other countries that I've tested with (such as the UK for instance). If you have an iTunes account in one of these countries and could help me obtain content from it, I'd appreciate it (I'd obviously would pay for it).

If you're willing to help but not in Italy or Germany, please also ask, and I'll check to see if the movie is available there.

TIA

I recently came across this Lord Of The Rings Audio-Film (for each book of TLOTR by chapter) on YouTube by Aficionado Joe.

Although A.J. didn't describe his sources, I'm pretty sure it was from the BBC Radio play (there is an American play, too, but those accents seem a little out of place    ). As YouTube so does, it automatically identified some of the used songs and inserted that copyright-use information in each post.

Regarding copyright, apparently the very first chapter ran afoul of YT's copyright flagging and was taken down. Oddly enough, all the rest of the chapters remain online.

I thought this might be a good project for some enterprising fan, as this version has shortcomings. Some of the more critical listeners mentioned (correctly) that sometimes the music drowns-out the speech (the play tried to keep a sense of depth, meaning lower volumes of surrounding speakers). Also the pictures shown during the play are adequate but really need better and to be more varied. (Therein might be a copyright nightmare.) Otherwise, it was a good concept and is more enjoyable than a straight radio play might be.

To get started, here is The Fellowship Of The Ring (you can find The Two Towers and The Return Of The King chapters in A.J.'s YouTube channel - https://www.youtube.com/channel/UCZEIW21...ycBOuxP85w ):

' A Long-Expected Party' - The Fellowship Of The Ring Chapter 1 - Lord Of The Rings Audio-Film
Aficionado Joe note : Chapter 1 has been removed (by YouTube)

'The One Ring' - The Fellowship Of The Ring Chapter 2 - Lord Of The Rings Audio-Film
https://www.youtube.com/watch?v=odYZdTbZ5bE

'A Conspiracy Unmasked' - The Fellowship Of The Ring Chapter 3 - Lord Of The Rings Audio-Film
https://www.youtube.com/watch?v=aupZ6jid-4g

'The Prancing Pony' - The Fellowship Of The Ring Chapter 4 - Lord Of The Rings Audio-Film
https://www.youtube.com/watch?v=1uasfmrOAwA

'A Knife In The Dark' - The Fellowship Of The Ring Chapter 5 - Lord Of The Rings Audio-Film
https://www.youtube.com/watch?v=Jr0klmXlfBU

'The Council Of Elrond' - The Fellowship Of The Ring Chapter 6 - Lord Of The Rings Audio-Film
https://www.youtube.com/watch?v=HIU8LVk2tdM

'A Journey In The Dark' - The Fellowship Of The Ring Chapter 7 - Lord Of The Rings Audio-Film
https://www.youtube.com/watch?v=35jr1TPkwBE

'Lothlorien' - The Fellowship Of The Ring Chapter 8 - Lord Of The Rings Audio-Film
https://www.youtube.com/watch?v=YnHfuZUj0K0

'The Breaking Of The Fellowship' - The Fellowship Of The Ring - Chapter 9 - LOTR Audio-Film
https://www.youtube.com/watch?v=AQBPrWmYCeg

Found a easy way to speed down PAL/25fps footage (that is correctly sped up from a film source and definitely NOT field blended video, as that would still require some convoluted secret sauce of multiple scripts) without the use for Avisynth (as still cannot figure that out for the life of me  )

Now the catches to this are:

This program renders with lossy codecs, but you can set the quality as high as you want in each codec's settings and get near transparent quality.

If your file has an audio track you want sped up to sync with the video, you can only get the "Film to PAL" box if you render with AAC or AC3 in the "Audio Filters" tab (copy stream with PCM, DTS, or DD Tru HD or Plus will not work and sound garbled). In this case, it is highly recommended to extract your multichannel/lossless audio and bring it into audacity/whatever other audio program you use and change speed/tempo to -4.096 (or the same number but without the - for speeding up 24fps to 25) to render separately and sync to the re timed video manually.

Download the latest version of Avidemux (freeware) http://avidemux.sourceforge.net/download.html

Load up your video, then in the video output column on the left. In order to access filters for what we're going to do, it requires a re-render. Click "Copy" and scroll down to the video codec you want to render in and hit "Configure" to set it's perimeters/bitrate to whatever you like.

Next, go to "Filters" underneath the configure tab and the video filter manager window pops up and should put you at the "Transform" selection of filters. Scroll down to the "Change FPS" filter, top source FPS should be set at "Custom" and the lower would denote the actual frame rate of the source. Since our source is "25fps", leave the top two as is and tick "Destination FPS" and select "23.98". Note: if your 25fps source has some odd interlace or top field/bottom issues, I would try the "Deinterlace" filters after you have the Change FPS filter on and find one that works best (if you do it before, you're gonna have field blended shit). Otherwise, I would deinterlace your 25/50i video in a different program that you're familiar with first. Now, if you want to speed up a 24fps source to 25fps, put 25 in the Destination FPS box and don't do anything else unless you need to have audio in sync which will require a lossy rendering in the next step.

Then press OK and it should show up in the "Active Filters" window and close the filter manager. Next, we're gonna have to render audio too if you do choose to keep the original track in sync. Hit "Copy" and choose the audio codec of your choice and whatever rate you like under "Configure". Next, go to "Filters" and in the audio filters window "Frame Rate" change is set to none. Click the drop down and select "PAL to Film" (or "Film to PAL" if converting 24fps to 25). Now, your files audio sample rate should be ether 48000hz or 44100 if the audio was from a CD or LD. If it's the latter, the you'd have to re-sample it in the tick box to 48000hz or the synced audio will have this weird garbled ghost effect. Note: you can hit the "Shift" check box to shift your track several ms to however you want and can set gain to your choosing. I would not recommend using the mixer tick box, as that's for folding down "untouched" multi channel audio and may cause problems with your sped down or up.

Now in the output format, choose the container you want to render in. I highly recommend "MKV" or "AVI", as all the others may not handle the audio correctly depending on the audio codec used. Click the save floppy icon to select your destination and render away. When your file finishes, you should notice a run time difference in your video compared to the original, in addition to a slight motion change (should be no blended fields) and a pitch change in audio.

I understand this method may not be ideal for those who use Avisynth and such, but this is a easier way to speed up or down footage without any blending/frame judder for those who aren't up to the steep learning curve of AS.

Scanned on the new Retroscan machine, this 52 year old print was suffering from VS. I used the AEO Light software to capture the audio from the scan, Phoenix to stablize it and Resolve to color correct it as best as I could. Raw frames look like this:



More information about the film can be found here:

http://www.the007dossier.com/007dossier/...ional-Film