I've been researching for a new monitor for some time now but can't seem to nail down a particular one for my needs in the $100-150 range. I was thinking IPS is a must for any of our site work but I would like a lowered input lag model as when I plugged my PS4 into an older Dell TN (st2410) panel at work once I was floored by how fantastic the gaming experience was. So then I thought about getting one of these newer TN panels that have increased color to better match IPS panels...but it seems every model I look at has negatives.

Does anyone here have experience in monitor shopping? I'm looking for a 24 to 27 inch monitor that is 1080p or above.

Finally I have finished it! Still not 100% perfect, due to poor sources, but I can say I'm really satisfied with the final version!

Here you can find a small SD version (640x360) encoded with x265 ultrafast, English AC-3 5.1; its purpose is to present a complete movie in UAR, and get some feedbacks!

Of course the final version will be 1080p, with a grain plate, and many audio and subs tracks, as usual.

Waiting for your opinions.

Well,
I'm not sure if you know all the controversy about this film on Bluray and how hideous the transfer looks with a blue tint all over.
(some people didn't have a problem though and insisted it was the correct color).

Now, according to this poster, MoviesAnywhere features a new HD transfer with corrected colors, which surely looks much better without the blue tint, and proves how wrong was the bluray!

http://forum.blu-ray.com/showpost.php?p=...tcount=367

I don't use digital services and such stuff (i wouldn't be able even if I wanted to).
So, does anyone happen to have this version?

So I'm trying to encode a 5.1 DTS track using Surcode from six mono AIFF files. The resulting DTS file is perfectly fine - the channels are mapped correctly, it syncs when muxed with video, etc.

But when I pop it into MediaInfo, it's saying the bit depth is 24-bit, whereas my source material is all 16-bit. I've tried everything I can with Surcode and eac3to to get a 16-bit output file, but no matter what it always reads as 24-bit.

So in Googling around for advice or info, I came across a few people who insist that bit depth is irrelevant for lossy codecs, so whether MediaInfo reads as 16- or 24-bit shouldn't matter. But then others have been saying that standard 48kHz DTS reading as 24-bit is incompatible with various programs and players they've used.

So does anyone have any advice on this? How can I force a 16-bit output DTS file? Can I patch the 24-bit DTS file to read as 16-bit without reencoding again and degrading quality (under the assumption that bit depth *is* irrelevant for lossy codecs)? Does it even matter?

I would like to replace the following logo from a project I'm working on:
   

It's the typical "zoom out" thingy starting among those "skyscrapers" with the camera moving out to show this logo.

Not sure if it's possible to see in the screenshot, but the one I have has frame blending across all the masters I tried, which is very ugly.

Does anyone know of a version without the frame blending that I could use? HD of course. Film scan or Blu Ray source, doesn't matter, but ideally it's 16:9 or has a framing such that I can zoom in to show the same area as here.

Just started using Premiere and was hoping someone could help with a full how to (idiot's guide) on a short sequence (MIGP Burg window scene from the frame it goes fully Open Matte, Ethan looking down at the buildings) with which I would like to add an expanding frame from 2.35:1 (off center so bars are slightly different top and bottom as the framing on the Open Matte source is slightly higher) to Open Matte over a duration of 2 / 3 seconds.

Now I get how to add a crop top and bottom (transform and crop and then add percentages) but can't work out how to get it to expand to Open Matte over a set duration. I have looked at a youtube video and it mentions nesting the sequence but even after nesting the full scene (again can't work out how to nest only a set section) I still can't work out how to get the bars to expand.

Any help would be greatly appreciated.

Today I just stumbled upon a "movie sync" project on myspleen; then following the link to the website that inspired it, I found a guy that "discovered" some albums could be put in sync with movies, and replace their soundtracks... I thought about the Indiana Jones - Soderbergh version; I quite like the idea, even if I think it's not worth a complete project, but only an audio track that could be muxed to BD and/or DVD - a simple task for our members.

Some links about movie sync:

http://moviesyncs.com
http://www.moviessynced.com
https://videoaslife.wordpress.com/category/movie-syncs/
https://www.criterion.com/lists/171199-t...ovie-syncs
http://web.archive.org/web/2016031013381...logspot.it

Opinions?

http://www.imdb.com/title/tt0062855

Anybody ever seen this one? I have an old VHS of it somewhere. This has never been released on DVD or blu here in the states. I downloaded a fan edit of it some years back, but it's an .avi and not the greatest resolution. I think an Italian DVD was released a couple of years ago under it's original tile, Dalle Ardenne all'inferno but only has Italian audio. UPC is 8028980583025. And apparently Amazon has it as well. I've never watched anything through Amazon. https://www.amazon.com/gp/product/B00JJ8..._aiv_mv-20

Cast A Deadly Spell is a fun, noir, Lovecraftian mash-up made for HBO television in the early 90's.

For the longest time the last best version available was a laserdisc to DVD preservation that I'm not even sure is in circulation anymore.

But that doesn't matter anymore, because Amazon has a 1080p stream that's also been circulating elsewhere... right?

Unfortunately, no.

This was shot explicitly for HBO as part of a set of 4 genre films written by Joseph Dougherty during that period.
Dougherty is known almost exclusively for writing TV episodes.  These films comprise nearly his entire feature length filmography and shot when TV was square NTSC.

The other films are 'Steel & Lace' (1991), a 1993 remake of 'Attack of the 50 Ft. Woman' starring Daryl Hannah, and a sequel to CaDS called 'Witch Hunt' (1994) with Dennis Hopper replacing Fred Ward.

So the OAR is 4x3.  Amazon has cropped the top and bottom to make this 16x9.  That's nearly forgivable, but HBO has aired an HD version that has been available in their On Demand list for a long time now.  HBO's version is correctly 4x3.

Watching that version recently I found something even worse... it's been censored.   Swear words have been over dubbed or muted.  Yup, HBO censored their own made for HBO movie.  I'm not even sure they know it. But going back, the same edits are in the Amazon stream.

So while I have been considering putting together a new version using an HD source, the laserdisc2DVD audio (or at least patches from it) and some corrected closed captions from HBO, I have reservations.

First, I really need to watch both versions side by side and make sure that nothing visually has been cut or cropped/zoomed, etc.

Also, while the beautiful Amazon rip is floating around, I'm not sure I want to go to this trouble for a cropped image.  I have no ability to cap the HD version from HBO beyond crappy 480i.

Anyone have any thoughts?

I hinted at this in another thread, thinking it was due to interlacing in the footage. After looking at the normal interlaced footage, I think I can somewhat safely exclude this possibility.

Maybe it's more like some kind of aliasing.

Here's a comparison screenshot. Left is the HDTV, right is a WEB-DL (including some DeHaloing):

    (Click to enlarge)

You can see how the lines of the font are clear on the right, but "jagged" on the left. 

Any idea what might be causing this and what a good solution would be, if there is any? I'm already combining the two sources, which mildens the effect, but it's still visible.

I get the same problem with finer textures in a few shots, like finer lining on a shirt, resulting in a form of aliasing, whereas the image is rather clear in the WEB-DL.

I doubt it's simple blocking, as it is too ... predictable and constant for it, and the bitrate of the source is also acceptable, in fact it's a bit better than the WEB-DL (although MPEG-2)