Well, it is part of the Alien saga after all, so why not?

There is an HDTV open matte version that I'm pretty sure to wipe out logo almost perfectly; but there are few shots - mainly after the commercial breaks, but also other instances during the movie - where there are annoying "pop-ups" that could be fixed only in two ways: replacing the shots with the corresponding Blu-ray one, or find another open matte source.

Sadly is not possible to use the BD ony to cover part of the image, as the pop-ups takes all the inferior part of the image, including one that is not available on BD... so, the only viable way is to use the whole BD image, cropping it to be fullscreen.

Second option is way better, and it will help also to get perfect logo removal; but I'm not sure if it could be found anywhere - there is at least a Plus HD capture around: http://screenshotcomparison.com/comparison/179680
*Maybe* some other HDTV broadcasting could be open matte as well, but there are several which are just OAR.

2017-12-04 RELEASED! https://fanrestore.com/thread-1891.html

I've given this quite a bit of thought and I've come to the conclusion that bit perfect recording isn't really important from a fidelity POV.

With that being said, it's obviously necessary for e.g. DTS which uses the 2ch 16/44.1 signal as a carrier, but for normal digital stereo and matrixed surround on LD I'd say it hardly matters.

What really matters is that there's no D->A->D step. If your sound card internally resamples incoming S/PDIF to 48KHz… so what? I damn well know I won't hear the difference and I'd put money on nobody else being able to hear it either.

So where am I going with this?

I think what matters from a preservation POV is simply getting as many of these tracks on the web as possible. Bit perfect requirements scare people away or keep people from sharing. It's silly.

The only real requirement we should have is no D->A->D.

Agree? Disagree?

OK, OK, I know... BUT... there are elements from The Thing, Independence Days, Stargate, even Hunt for Red October if you will, and something AlexProyas-esque at the end... so, given the fact no BD exists, and probably never will, *maybe* it could be saved... add to this a little open matte aperture - from 1.85 to 1.78 (a 1.33 version exists as a TV rip as well), and few frames that *should* be fixed, and Carl Lewis in it; all good reasons!

http://screenshotcomparison.com/comparison/212999

This is something that has bugged me for a while now and it seams many of you don't know how to handle AC-3 audio, without the need to transcode to lossless (FLAC, DTS-HD MA,PCM) after it was synced. In order to sync an AC-3 audio track to a new source, just use eac3to to edit the AC-3 audio. A long time ago zeropc showed me this technique, which he was teached by jj666. Now the method itself wont be always perfect, but the tracks I've heard so far or even edited myself are pretty good. Most of the time you wont even notice a thing. Editing an AC-3 audio track needs to be done in 32ms frame window. This means the audio sometime wont be synced down to the level you might want it to be. It usually drifts between 2ms to 31ms. Nothing the average listener will notice

How do you edit an AC-3 track with eac3to?

It's rather simple

1. transcode the AC-3 to WAV and import into your audio tool of choice and sync it to the new source
2. keep notes of the editing timecodes (hours|minutes|seconds|milliseconds) and delays you needed in order to sync the audio - I recommend to work with multiple track lines
3. create the proper cmd lines for eac3to to edit your original AC-3 audio so it will synced

use the initial delay if needed

eac3to source.ac3 target.ac3 +/-value

then use your editing timecodes + delay values

eac3to movie1.ac3 movie2.ac3 -edit=0:10:00.000,100ms
eac3to movie2.ac3 movie3.ac3 -edit=0:45:43.123,-54ms

and so on

eac3to will add silence if you add -silence at the and of the command line if required

eac3to movie3.ac3 movie4.ac3 -edit=0:50:00.000,50ms -silence

If you don't use the -silence cmd, eac3to will loop the audio for the given delay. so experiment what would work better for the edit.

If the original AC-3 audio has a DialNorm Flag and you want to keep it (I always did keep them), make sure to use -keepdialnorm cmd at each cmd line

eac3to movie3.ac3 movie4.ac3 -edit=1:05:00.450,24ms -keepdialnorm

If you use eac3to to edit DTS audio from a DTS LaserDisc add the -dontpatchdts as well to keep the file in it's original 20bit. If you leave it out, eac3to will automatically patch it to 24bit.*

You can create a batch file and after a few minutes you'll get a synced and transcode free audio file.

I hope this little guide will help you on your future projects, as I believe you shouldn't always transcode unless it's absolutely needed.




*Info provided by borisandoris

Project Info
Well, guys, except for Reservoir Dogs, here's my last full custom BD on the horizon...

The Exorcist (1973), despite being almost universally recognized as a seminal horror classic, had its BD release fairly radically tweaked. Displaced by a Director's Cut, which stuffs in unnecessary footage and adds new digital effects, the award-winning 1973 Theatrical Cut was relegated to a bonus disc. Even so, the Theatrical Cut still suffered from: 1) a yellow-tinted opening in Iraq; 2) very strongly blue tinted Exorcism scenes; 3) a remaining digital tweak in a climactic scene; and 4) a weak and revisionist 5.1 mix.

This release addresses all those issues. For the most part, the transfer actually looks excellent, with color timing seemingly representative of the style in the 70s. Extensive shot-by-shot color correction had to be employed for the aforementioned sequences; they were adjusted to resemble the 1997 DVD, which predates any tweaks. The color timing of the 1997 DVD was corroborated by 35mm clips of The Exorcist contained in the 1980s documentary, "Terror in the Aisles," preserved in HD on the Universal BD of Halloween II; this documentary was also the source to patch in the original "jump cut" in Fr. Karras's climactic scene. I reinstated the original 1973 WB logo that would have been seen before the film in cinemas and also matted the whole film to the correct theatrical aspect ratio of 1.85.

Aurally, there are two options. The primary option (Track 1) is the 1979 70mm, which was the basis for most pre-remix home video releases, presented in 5.1 from the 1997 Full Screen DVD. The second option (Track 2) is the 1973 mono mix, only available in a rare Japanese LD (ripped by Anctufaalb). Because it's lower quality and I had to sync this manually without a video reference, I wasn't particularly comfortable putting it as the preservation's primary audio.

Note that this project is distinct from Dr. Sapirstein's previously released project and borrows no elements from that release.

Thanks to:

• Jonno - for providing the proper 1973 vintage WB logo in HD
  
• Anctufaalb - for preserving the rare mono mix
  
• Doombot - for encoding the 5.1 70mm mix into DTS-HD
  
• Chewtobacca - for additional advice and support
  

• US BD - several sequences color-corrected
  
• "Terror in the Aisles" Bonus Feature on US Halloween II BD - used for one shot digitally altered on the US BD
   
  

• 5.1 DTS-HD - 1979 70mm Reissue Audio (from 1997 FS DVD)
  
• 1.0 LPCM - 1973 Theatrical Mix (from rare JP LD)
   
  

Just discovered: https://shotonwhat.com

Now we could know what negative film stock was used for a certain movie, cameras, release prints etc.

I have ripped (bit-perfect) the digital PCM Dolby Surround track from the US LaserDisc release of The Matrix (17665) and synced it to the Blu Ray. I have kept the file at 16/44.1kHz, in order to be Blu Ray compliant it will need to be resampled to 48kHz (pick your poison).

Uploaded to MEGA, PM for links. I will only be sharing this with active members of the forum.

I was reading up on some discussions about Die Hard 2's colour grading at blu-ray.com which seems to have varied over different releases over the years. 

Look at the shots of the church during daylight here
http://www.dvdbeaver.com/comparisons/com.../diehard2/

and these
http://www.caps-a-holic.com/c.php?go=1&a...03&i=7&l=0

http://www.caps-a-holic.com/c.php?go=1&a...35&i=2&l=0

So I'm trying to determine which one is correct?

   

I do have a very good copy of this Die Hard 2 rental VHS (and the reatil version) (censored BBFC '15' version) which a friend of mine had converted to DVD professionally for his web series on censorship (something i work on with him time to time) and what i found interesting is that it opens with the cinema BBFC classification slide (which was different for VHS releases) meaning that it was 'possibly' telecined directly from a UK print (because of all the edits to the film). I have seen a 35mm print of it some years ago but can't remember how it looked now.

Now sadly I don't have the means or knowledge to take this project on but more than happy to assist with reasearch and sourcing of materials.

First off, Hi everyone. 

Not sure if there's any interest in something like this, but thought I'd bring it up.

The first and second season, and from what I gather, very few episodes of the third are missing the original music in the US DVD releases.

Years ago, I snagged copies of the Japanese release from a fan in another forum after finding my US copies to be off. Pacing changes completely. 

Anyway, does anyone have recommendations for preserving these? Really don't trust DVD after a certain amount of time. I've ripped compressed mkv via dvdFab (I know but wanted to find the best way before taking up so much space) just to make sure I have copies saved in case of disc failure.

I also doubt this will ever be released in the USA....so don't want to lose this. 

Also, sorry if in the wrong section.

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