This could be an extremely tough project. What we need to do in order to realize it is to capture every single 16:9 (as in, filling the whole screen) broadcast of SW:TFA from here on out, look at the "Escape from Jakku" sequence to see if it's open matte, and check it with the 3D print already circulating since just over a year ago.
OK, this movie is into my HDD since many years... I thought to start a project about it several times, but any time there was the announcement "Blu-ray will be released..." and I left it behind, and regularly the BD never appeared, so... maybe it's time to do it!
This will use the WEBdl as main source; the logo is deleted using HDTV; film scan is used as color reference and, despite the fact it's letterbox, color regrade *seems* quite good - should check the whole film when it will be ready - quite close to film; this is also one of the rare full open matte versions - where the whole letterbox image is included, so there are no cropped parts, apart very few shots (I spotted only the Harrier take off, so far).
Regraded version is also often very close to trailer (even if all we know trailers can't be taken as absolute reference, color wise, they could be taken in account somehow): https://diff.pics/2_OMj9L-18bx/1 - would be great to find out the full screen DVD, maybe for an AAP-AR version
I have the Italian AC-3 track, along with the English and Russian ones. I'd like to add the Cinema DTS track, plus English DTS-ES 6.1 from DVD, and the usual other languages (Spanish, French, German) audio and sub tracks; if anybody would/could help, please chime in!
I have grasped by now that some movies are filmed anamorphically, so they will never have an Open Matte.
While I understand the concept of anamorphic filming theoretically, I am not very familiar with all the established technologies and terms used for this in the film industry, specifically 35mm-related (I do understand the somewhat separate topic of anamorphic video encoding, so no need to delve into that).
It follows I have neither yet grasped how to derive this information from imdb's Technical Specs. Can anyone perhaps give me a quick rundown over the most basic terms and anything that might be necessary to grasp this subject in its entirety? I'd like to know enough about the process to look at imdb's Spec page and quickly find an answer to whether that movie was filmed with any option to later Open Matte or not.
Currently I end up giving up googling all the various listed film stocks and listed lenses and whatnot, as I kinda lack the basics.
I originally joined here with the intent to provide useful information and get help to finish some projects I've been working on and off for a while. However, severe personal issues just came up which means I won't have time to finish anything nor be on Fanres much, and I don't want to cause problems and come across as a leach to some people who helped me if I can't contribute anything on my end due to time constraints. I was going to have an admin ban my account, but he was against the idea and told me to write this post and just not log in, but the thing is I probably won't be coming back at all from this point on and I don't people hanging or wondering what happened to me. I'm not sure if anyone is with me on this.
It was nice being with you all but life is life and don't want to cause any problems if I cannot provide in return.
The Matrix - AXIS-ALIGNED POLYGON ASPECT RATIO™ - EXPERIMENTAL VERSION
Are you curious to watch an entire movie with more image than both the letterbox and open matte versions?
Are you ready to watch it with a "strange" aspect ratio?
This version is AFAIK the first full lenght movie release with an AAP-AR; thanks to random.next and his plugin, the alignment is perfect in almost all shots (I'd say 99.9%); it used HDTV and DVD as they have very similar (but not identical) color grading.
Problems:
sometime the alignment is completely wrong (first 52 frames are my fault) for a whole shot, or just for a frame or two at the beginning of a shot
colors in the "slices" are different sometimes, due to not identical color grading of the sources
there is at least a glitch which was present in the HDTV source
no end credits
All in all, a nice presentation; after few minutes, the empty angles would be barely noticed - until you'll notice a problem, at least!
The video file has not audio, but it's in sync with the BD (until the beginning of the end credits), so you can mux a track from BD in any language; I've added the workprint track (fixed by jerryshadoe) so you can experience an even more strange version.
Have fun, and do not forget to leave some feedbacks!!!
Video (no audio included) - Audio (from workprint)
The Blu-ray didn't come with it's original mono mix in english.
However it's available on the US DVD and on LaserDisc (Jap/USA). So I'm asking
if someone who has either, LaserDisc preferred, could please share the
audio. It would be also useful to have the video from the version, to help
with syncing it to the Blu-ray.
As for the 5.1 mix on the BD, it's okay for what it is. However you can hear
the mono origins, as voices and SFX bleed into the surround channel. I'd say
that the original mono mix will be a much more pleasing listening experience.
Posted by: deleted user - 2018-01-07, 05:42 AM - Forum: In progress
- Replies (3)
Something I wanted to do since I first saw this movie. The desaturated look is absolutely not my thing. Luckily the color is still there and just needs to be seduced to show itself.
Played around for a while to get the ideal compromise with a blanket 3D LUT and am now at a point where I am kinda satisfied.
Since the saturation is so low in the original, there's lots of obvious chroma blocking when raising the saturation, which is why I apply a grainplate for each RGB channel separately. This results in some extreme grain/noise in some areas where there is strong chroma contrast, but I actually kinda like that. Looks better than the blocking, anyway.
I only encoded that one with Adobe Media Encoder, so don't expect great quality. Should give you a fair idea what to expect color-wise though. And in the beginning scenes you can see some of that chroma grain acting up which I mentioned above.
Final encode will be done by applying the 3D LUT through ffmpeg in 16-bit, then piping into and encoding with 10-bit x264. If someone wants a blu-ray compatible encode, I'll include the .avs-file, grainplate, 3D LUT and a .bat script using ffmpeg for the LUT application and piping into x264 (that took some tinkering to get it to work), so you can just make your own version with your own encoding settings. I personally don't have a Blu Ray player, so I don't care about compatibility much.
Audio will be the lossless audio from the Blu Ray transcoded to FLAC.
This is pretty much finished, just need to find good encode settings and encode. I'll probably aim at a bitrate between 15 and 20 Mbps, to preserve the beautiful grain acting up.
If anyone has suggestions for further audio tracks or anything, let me know.
P.S. Should I classify this as fanedit as I am not technically preserving anything (other than the color)?
Hello,
Just want let you all know that Amazon Prime Video has Fight Club, atleast here in Sweden, and by the look of it seems to be an early transfer in HD. (2K telecine?)
I can tell it doesn't have the Bluray transfer color correction and the overall tone is more warm in the highlights. And it has pure filmgrain. No DNR. Oh yes!
