Hi folks,

So I'm kinda surprised as I find some bonuses on Pal DVD, that are encoded Pal 25fps 50hz, but have the exact same lenght of the same bonuses on the NTSC DVD that are 23.976fps 60hz.

Let say I want to overlay both bonuses to obtain a better looking encode with more detail.

How do I do because when I import the Pal content, and put it in a NTSC timeline, it suddenly stretches to 23.976 and plays slow.

Thank you.

Guessing how fast an HDD should be to sustain realtime 4K and 8K play, let's say some figures - extrapolated from http://toolstud.io

UHD 4K - 3840 x 2160 4:2:2 24fps 8bit YCbCr uncompressed: 199MB/s
https://toolstud.io/video/bitrate.php?im...amerate=24

UHD 4K - 3840 x 2160 4:2:2 24fps 10bit YCbCr uncompressed: 249MB/s
https://toolstud.io/video/bitrate.php?im...amerate=24

UHD 8K - 7680 x 4320 4:2:2 24fps 10bit YCbCr uncompressed: 995MB/s
https://toolstud.io/video/bitrate.php?im...amerate=24

So, to sustain realtime uncompressed UHD 4K 8bit and 10bit, fastest HDDs could be up to the task - or slower ones in RAID. Of course, any SSD could do.
For UHD 8K, you need an NVME or at least two SATA SSDs in RAID 0; with HDDs, minimum should be four in RAID 0, even if probably more are required.

Of course, compressed video - even using lossless codecs - would be quite lower than this figures, so *maybe* for a lossless encoded UHD 8K video, around 500MB/s could be needed, leaving the task to a simple SATA SSD or two (or three) fast HDDs in RAID 0.

Yes, I know that is the "Everything else..." subforum - I built this forum, after all - yet, I don't see any other places to put it, so...

Today I noted a comment on one of my ancient thread on OT, that starts with "I know this is a 7 year old post"... wow! So much time since I was involved in this fan restoration world, still it seems yesterday I released my first project (actually, more than 6 years ago...). But, at the same time, it seems forever.

I must admit movie restoration is not only a simple hobby, is a way of life - kinda - I'm sure someone here think the same.

It is good to see old friends still here, sad to see some are offline since a long time; also it's rewarding to see new members starting to interact in this forum with great passion - they are not many, and it was expected; but they are more than I thought, so I'm happy!

End of thoughts for today... feel free to post your own!

I am Deaf from Germany. My English not perfect. I understand minimal English.
My Hobby is Playstation 4 and Video Dubbing.

https://github.com/smacke/subsync

Very interesting algorithm that synchronizes subtitles to your video automatically based on audio analysis. And it can be integrated into VLC as well!

Glen Wilcox Wrote:Unearthed a wide transfer of the 7 doors version... I bring it out now and then from a nostalgic fondness for having initially grown up with it, but of course the international cut is FAR superior.

Not on an official release. Someone had a 35mm about 12 years ago and offered it to a friend... To push it because the print was very clean they handed him a five minute telecine that was beautiful. Some dealer in Big reel. i suspect they ran the whole thing because the wide rip turned up on a share site shortly after and it looked same but was all there. i just nabbed it and moved on. Quality is barely a click above VHS looks like it may have been pulled to SVHS or 3/4"  of some kind... But it's there and not terrible.

Hello I'm a movie collector from California I have been collecting fanedits and some workprints for 12 years. I unfortunately I don't know how to edit movies myself but if I can provide something to help I hope I can. I'm glad to have found this forum and very interested in the projects here thank you.

Greetings all,

After a long hiatus I have jumped head first back into cinema DTS rips with a couple projects.  Since I could not remember all the knowledge on the process, specifically the channel levels, I decided to go seek out official DTS sources as well as SMPTE documentation (SMPTE RP200) on cinema sound levels.  

From what I gather, systems are calibrated to achieve the following:

LCR: 85dB
Surround: 82dB
Subwoofer: +10dB in-band gain compared to the mains.

DTS' documentation seems to indicate that levels are recorded taking this into account (as was Dolby Digital and SDDS).  Thus the levels should be:

LCR: 85dB
Surround: 82dB
Subwoofer: 91dB for films after Jan 1, 1999.  Prior to 1999, they should be 88dB.

After parsing through threads here and OT.com, I don't see a mention of adjustment on the sub channel at all to account for this difference in levels.  The question is, what have you all done on your DTS Cinema projects?

Thanks ahead of time!

BandD

For some strange reason the Blu Ray only includes the original mono audio track and not the Dolby 4.0 Surround remix that was done for the DVD release. If there was ever a movie that benefits from a surround sound mix, this is it. I've hunted high and low for a DVDrip that includes the dolby mix so I could strip the audio track and remux it with a good BDrip, but I've never been able to find one. Any help would be appreciated.

Top Gun Open Matte (Quick Project v3.0)

Project Info:
With the news of the new Top Gun 2 shooting, I wanted to revisit the original as I haven't seen it in a decade or so. I was content to wait for jerryshadoe's project but he seems to have not been active on the site in some time (hope he is ok). What I took away from his postings was the 2.39 version has too tight of head room. With that in mind I (second open matte was x5’s) tracked down the Bluebird Amazon open matte Web-DL. Although I love scope format, I had to agree with him that the old S35 transfer was tight and the open matte looked better, especially for the aerial shots.

From there I was ready to mux in the LD's PCM and watch until, on close inspection, I found out the open matte has a few problems.

First it has a ton of blocking and compression artifacts on the video.

Compression artifacts example
100x/200x



Finished (Deblock, Noise removal, etc)
100x/200x


The open matte also uses the new (3D) color timing which I have no problem with outside of the pervasive red blanket over the picture. For that, I removed the red bias and balanced the highlights slightly away from yellow. Now the picture is still warm/yellow but now lack the blistering skin tones as they now tend to orange instead of red and the picture overall has more blue in it.

Orig/CC'd (some of the more extreme examples I could find)


One thing I couldn't fix are the blown highlights, they come with the original Web-DL. Overall this project is not perfect (it is a quick project) but much, much better then the original open matte. As a last step, I took out the Paramount 100 Years studio logo at the beginning and replaced it with a vintage era logo.



For sound, I kept the OM's DTS 5.1 but added jerryshadoe's LD PCM sync (which sounds fantastic) and used Chewtobacca's re-sync timing. The existing EAC-3 and the BD soundtrack were mixed in.

Addendum: also added in the Widescreen LD’s AC-3. Rumored to culled from the 70mm tracks (thanks Zoidberg).

Finally, spoRv gave my a copy of his YAO subs which when turned on will mask the 1.77 picture down to the theatrical 2.39. FYI, the new logo at the beginning will be over cropped incorrectly but the rest of the movie works ok.


Video:
Bluebird Amazon open matte Web-DL (thanks X5) with de-blocking, noise removal and slight color correction. Plus studio logo and English title replacements (via another open matte source)

Audio:
1. PCM 2.0 Dolby Surround (from the widescreen LD, synced by jerry)
2. Dolby Digital 5.1 (from the widescreen LD, synced by zoidberg)
3. Dolby Digital+/EAC-3 5.1 (Original Web-DL Track)
4. DTS-HD MA 6.1 (from the BD)

Subs:
1. English
2. spoRv's YAO subs to watch the 1.77 open matte video in 2.39 mode (note the Paramount logo will be cropped with these subs on but the rest should play out just fine)

Pics:

Final MKV Pics


YAO Subs
Open Matte/2.39 YAO subs



Collaborators and Thanks (In order of help):
jerryshadoe: for the PCM rip and sync
Chewtobacca: for the re-sync calculation
spoRv: for the YAO subs
Doombot: for previewing the MKV and advice
X5gb: for a second better open matte source.
Zoidberg: for the AC-3 cap and sync from the widescreen LD