I found a thread about Nolan's preferred process for his DI grading with contributions from his Digital Colorist:

https://www.liftgammagain.com/forum/inde...post-93021

Essentially the IP was scanned and graded in real time against the photochemically timed 70mm print. Pretty interesting

I'm looking at starting my first video project, after previously working with audio and subtitles (a friend did the earlier reconstruction I was planning on).

I'm aiming to colour correct the new HD version of a film. I've got an earlier upscaled fan project that I was planning to use for reference, unless there's something closer to the theatrical colours. 

I'm curious if there's beginner-friendly software that'll try to match the colours from the fan project to the new version (colours of the new version are too yellow), and allow me to correct the result as closely as possible? I've got Davinci Resolve and DrDre's Color Match v1.2, but I'm happy to try other software. 

Thanks.

STORY & PROJECT OUTLINE
Where do I begin?  I can remember, like many of the fans out there, watching this movie for the first time on cable TV when I was about 8 years old.  I used to be drawn to the VHS cover art every time I would walk into the video store to rent a movie.  2003 ... it was finally happening ... an Official DVD Release .  Expecting a restored masterpiece in its proper widescreen format, we got exactly the opposite ... a VHS-to-DVD transfer stating that “This film is presented in the original 1.33:1 format in which the film was shot”.  The film, matter of factly, was shot in a 2.35:1 widescreen format, which brings me to my next point.  2009 ... for the very first time ... MonstersHD, a cable TV network, aired the film in a High Definition format preserving the original widescreen 2.35:1 aspect ratio, courtesy of Paramount Pictures (later "officially” released in Germany, courtesy of '84 Entertainment ).  The reality of an official remastered DVD + Blu-ray release was looking more hopeful but again, we were all disappointed to go another 8 years (bringing us to our current year, 2018) without an official release.  Attempts were made by some smaller based companies like Scream Factory but all attempts lead us to yet another dead end. The only physical media release in a high definition format this film has ever had in its 30 years of existence have all been bootlegs of the only existing HD transfer of the film (from 2009).  For those that didn't already know the story, they would soon get that story in great detail following the release of  "You're So Cool, Brewster! The Story of Fright Night" Documentary in 2016.  

As quoted by Director Tommy Lee Wallace, "The Menendez Brothers killed Fright Night Part 2, as well as their parents."

With no future release dates being discussed and no studio coming forward to officially release the film due to the rights limbo it has been in since it was pulled out of theaters back in 1988, I am hoping to give this film the credibility and treatment it and its fans deserve.  I have here with me a 35MM Release Print of the film from 1988.  From what I can see, it is in excellent condition stored in its original film canisters.  Currently I am in talks with a Professional Restoration Team to do a Full Restoration of this film in 4K (2160P) Ultra High Definition.  We will be working with the copyright holders during this restoration process.  

BUDGET & FINANCIALS
Digital restoration is highly specialized work, with a film costing anywhere from $50,000 to $150,000, depending on its condition. Our current goal is $12,000CAD to cover the partial cost of a full restoration with film clean and prep, triple flash 4K Director scan with damage matte, stabilisation, dust-busting, scratch repair, grain management, HDR colour grade, restored stereo and creation of stereo DTS track.

VIDEO
Rec709 is the standard for Blu-ray, DVD and non-HDR UHD and is what most 4K and 1080P TVs are calibrated to at the factory. i.e. the grade that looks the best on the widest range of televisions and projectors.  An HDR graded movie can look dark on 4K TVs and 1080P TVs unless the owner has calibrated their set for HDR use.  An HDR grade is also a lot more work.

AUDIO
Creating a mix from Stereo to 5.1 is possible, but is a lot of work (at least a full-time week) for creating a new mix, which then has to be checked and trialed multiple times.  Getting a good 5.1 mix is a lot of work.  We need to watch the film multiple times and make notes as to where the various sounds should be positioned, and then go through and try and isolate the elements to get a good mix. It is much easier if the original sound recordings are available, that often have the isolated vocals and sound effects - it is much harder working from just a stereo track.

HELP REQUIRED
With this campaign, we’re asking the public to help us cover part of the cost to restore Fright Night Part II.  I will be funding the rest.  Any money that goes over our target will be invested in new restorations and releases.  Let us experience Fright Night Part II for the first time all over again with an all new Ultra High definitive look.

THE CHALLENGE
It can’t be seen in today’s digital cinemas and, over time, the 35MM film will deteriorate.  We will work in collaboration with the filmmaker where possible to bring their original vision of the film back to life, frame by frame.

**PM FOR DETAILS ON HOW YOU CAN HELP**

A friend is loaning me a very rare LD this month and it suddenly dawned on me that it would be very helpful to at least do a capture of the PCM and ac3 tracks, and even more so to do a basic video capture as well. Does anyone have a cheap and simple suggestion on how to do so with only a regular desktop PC?

Hi there. I'm a brand new member with no posts, so I'm assuming this is why I can't PM; Some kind of anti-spam measure or similar. I joined because I found a thread on this forum wherein a member mentioned having a workprint of The Football Factory which is something of a white whale for me, and he said to anyone wanting a link to PM him. I can't find any information about who can and cannot PM, so I was hoping someone could enlighten me.

Well, the new 4K scan comparison came in on Caps-A-Holic. I don't know how I feel about this new version since it seemed to be a little more zoomed in than the Shout! release as well as losing the cold-blue color grade (although idk how accurate that even was). I saw this release in a theater as well and noticed that they seemed to have botched the surround audio quite a bit, with the ambient audio noticeably ducking rather annoyingly.

Since Chewtobacca created a thread talking about Star Trek II: The Wrath of Khan, I decided to make a thread talking about one of my personal favorite cult-classic horror movies, Don Coscarelli's Phantasm. Although y'all can post whatever about the movie, the main thing I do want to talk about is the original first workprint cut of the movie.

Haven’t seen this in a long time and fancy a rewatch.

I own the R2 DVD which unfortunately contains a faulty 5.1 track (missing LFE).

Just wondering, has anyone captured the LD surround track?

If not does anyone have the Dolby Digital 2.0 track from the R1 uncut DVD?

I have a digital copy of the film taken from the BD in 1080p. 
The Blu Ray version of this film is in the original 4:3 as opposed to 16:9.
As many people know, the film was originally a two part mini series on ABC.
When it was released on DVD and Blu Ray, it was edited into a full length film.
My edit preserves the transitions and credits, separating it into different parts, by using the titles and extended scenes from upscaled Laserdisk rips in the original broadcast format.

There is a great guide that I found here:

https://www.google.com/amp/blog.chameleo...-sheet/amp

It has the H by W for each of the major resolutions. Which is particularly useful if you are cropping out black bars in an official release.

Here are the resolutions used in the home cinema world.

4kHD/2160p (QuadHD)

Frame Aspect Ratio / Resolution (Square Pixels 1.0)

1.33:1 (4:3) / 2880x2160
1.66:1 (5:3) / 3585x2160
1.77:1 (16:9) / 3840x2160
1.85:1 / 3840x2076
2:1 / 3840x1920
2.35:1 / 3840x1634
2.39:1 (referred to as 2.40) / 3840x1607
2.44 / 3840x1574

1080p

Frame Aspect Ratio / Resolution (Square Pixels 1.0)

1.33:1 (4:3) / 1440x1080
1.66:1 (5:3) / 1792x1080
1.77:1 (16:9) / 1920x1080
1.85:1 / 1920x1038
2:1 / 1920x960
2.35:1 / 1920x817
2.39:1 (referred to as 2.40) / 1920x803
2.40:1 (Blu-Ray) / 1920x800
2.44 / 1920x787

720p

Frame Aspect Ratio / Resolution (Square Pixels 1.0)

1.33:1 (4:3) / 962x720
1.66:1 (5:3) / 1195x720
1.77:1 (16:9) / 1280x720
1.85:1 / 1280x692
2:1 / 1280x640
2.35:1 / 1280x545
2.39:1 (referred to as 2.40) / 1280x536
2.44 / 1280x525

Edit: Coming off Tom’s post I cleaned the 1.33 and 1.66 entries