This project series is probably done with. Future project using 35 elements will just their own beasts.

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Couldn't find a better title for this project so bear with the name.

The overall goal of this project is to take existing HD masters and change the colors to look more like a 35mm print using 35mm materials. This originally started out as a sister project to my upscale project here:

https://fanrestore.com/thread-1071.html

In the upscale project I took the final video and tried to color grade it to match picture of 35mm frames. I wanted to take that idea and apply it to HD masters but go one step further. I have bought several trailers from movies and scanned them myself. It's often said that a trailer might not be fully color timed but that doesn't mean that they are wrong, all the time. In fact most of the 35mm trailer scans I have seen match prints pretty well. I then took the scanned color information, generated a LUT(s) and applied it to the existing HD master to color grade it. It's not without it's fault but creates a fun alternative to the existing HD masters and is an easier way of trying to get closer to the look of a film without the expense of tracking down an actual 35mm print.

So this thread is like my upscale thread, to test ideas and concepts for this project and get opinions from fellow fanres-ers.

A little bit of note. While I do try to even out colors to reflect projection and what current video standards are, you should still expect high contrast, occasional blow-out and saturated colors as you would see in a 35mm print. If you hate that look you may not like these project.
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1. Temple Of Doom (35 Project #1 v1.0)

See More Here:
https://fanrestore.com/thread-1840.html

Status:
Done

Video:
The BD image color corrected using a LUT to match the 35mm trailer scans, 35mm frames and other 35mm sources

Audio:
1. PCM 2.0 from the US Widescreen laserdisc

2. DTS-HD MA 5.1 from the US BD

3. PCM 5.1 (TomArrow's Dolby Surround upmix of the Paramount Widescreen Laserdisc PCM 2.0)

Pics:

MKV Pics


BD/Regrade - Out of Date

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2. Die Hard with A Vengeance (35 Project #2 v1.3)

See More Here:
https://fanrestore.com/thread-1814.html

Status:
Done

Video:
The BD image color corrected using a LUT(s) to match a 35mm print showing.

Audio: (Tentative)
1. DD/AC3 5.1 from the THX DVD

2. PCM 2.0 from the THX LD (depends on space)

3. DTS 5.1  or full DTS- HD MA from the BD (depends on space)

Pics:
MKV Pics


BD/BD Regrade (Updated 5/23/18- Out of Date)

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3. Dawn of the Dead Regrade (35 Project #3 v1.11)

See More Here:
https://fanrestore.com/thread-2132.html

Status:
Done

Video:
US Anchor Bay Blu-Ray regraded to various 35mm trailers

Audio:
1. PCM 2.0 Mono (from the Full Screen/Open Matte Laserdisc)
2. DD/AC-3 2.0 Mono (from the AB BD)

Pics:

MKV Pics



BD/BD regraded to trailer (Updated 5/23/18- Out of Date)

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ON HOLD

4. Die Hard 2 (35 Project #4 v1.6)

See More Here:
https://fanrestore.com/thread-1711.html

Status:
Syncing Audio

Video:
The BD image color corrected using a LUT to match the 35mm trailer scans, random LDs, HDTV briadcast and 35mm print examples.

Audio:
1. PCM 2.0 from the Japanese P&S LD

2. PCM 2.0 from the THX LD

3. DTS 5.1 from the US BD

4. DD 5.1 from the THX LD


Pics:

BD/BD Regrade (Updated 5/23/18)

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Hi, I put this up on OT.com earlier (I'm ElectricTriangle over there) and I thought I might put it up over here if anyone's interested.

This is an HD recreation of the director’s cut of Star Trek: The Motion Picture, which was completed at SD resolution and only released on DVD. It’s primarily sourced from the HDTV, which uses the same transfer as the director’s cut DVD. The HDTV is low detail and has lots of compression, but it does have more grain and much better contrast than the Blu-ray. The unique footage from the director’s cut DVD is upscaled. Color-corrected Blu-ray footage is used for some shots with alien subtitles. I have also recreated some of the director’s cut changes in HD by combining SD and HD footage.

We wouldn't be doing the cinema experience justice if we focused only on THX, now, would we? There's also Regal, Carmike, AMC, Cinemark, GCC, and other policy trailers, and also ye olde Astro Daters. What I'd like to see as a filmophile is theatrical policy trailers and other assorted bumpers at a 1080p24 or higher resolution.

The world of classic theatre bumpers and which go where in a traditional theatrical presentation is one realm I would like to see explored at some point, in some way.

Hey, guys.

This past July, I attended to 5 screenings of Se7en in 35 mm in Paris, France. During 3 of them, I've made about 1200 pictures in total with my iPhone 4S to document the look of the film and cover pretty much the whole movie. I will attend to another screening on sunday October 22nd in another theater, a better one, in which I won't take pictures though. I'm aware that Se7en, because of Darius Khondji particular photography had to be printed in a particular way, and the guys at the theater could not tell me the specifics of the print, except that it was from back then (1995) and was made for the French release (it had subtitles). Now, Khondji being French-Iranian and France being the mother country of cinema, I guess what I saw 5 times now and soon 6 times is the actual intended look of the film. Khondji, before that, worked with Jean-Pierre Jeunet and I know the Jeunet movies were properly printed in France to render Khondji's cinematography. And from what I've seen on video (PAL VHS from Metropolitan, TV broadcasts, DVD from Metropolitan, DVD collector from Metropolitan which is the twin of the NewLine Platinum, Dutch Blu-ray, also a twin of NewLine Platinum except HD, and Metropolitan/Warner Blu-ray) over the years is very much different though close enough here and there, depending on the release and on the scenes. Here are some examples :





Here, you can see the Warner Blu-ray (picture 4) is the better match for low brightness but would need more warmth in the browns. Combining the Blu-ray with the colors from the 1st French Metropolitan DVD (picture 2) should do the trick.





Same here: Metropolitan DVD colors are the better match, but the DVD has blown out whites as we can see in the sky, where the electric lines should be seen.





This all scene (as most of the precinct scenes except for the one near the beginning when Somerset wants to drop the case) is supposed to be very cold, like bleached. The closer match is the NewLine Platinum and its twins like the Dutch Blu-ray. The Metropolitan, although too warm and too bright, has got somehing in its color that looks quite right.





Here, all video releases are way too bright and reveal the practical effect of the third arm along his body. The scene in 35 mm is so dark that the whole shot is actually conceived for the audience to look at what the flashlight is showing: the missing hand. In 35 mm, you can't see the real arm, you can barely perceive it and you'd have to know it's there to notice it. On video, well it's obvious! It reminds me of the mood also using a flashlight from this scene in Face-off , also ruined on video by being way too bright (courtesy of THXita from OT.com):





And finally, 'cause it's starting to be a long post:





In this scene, the NewLine Platinum is almost dead on! The darkness and the golden hue is what it's supposed to look. The Metropolitan DVD is too bright, and the Blu-ray is a complete revision that now sets the scene way later in the night all the way to the final shot with the Hemingway quote...







So all this to say what? That if one of you color-timing-video-editing-software wizzards is willing to work on Se7en, then I can be of quite a valuable assistance in providing video sources, as much as 1200 (!) pictures along with my memory of 5 recent screenings that I went to in a 2-week time, plus a future 6th one on October 22nd.

WOW!

First, I should say that this is a movie I wanted to see maybe since twenty years ago... yes, a rollercoaster, non-stop ride full of action and violence! This is not a movie for the faint of heart; you may feel sick sometimes, nausea, headache, due to very fast action and the whole POV shot style. But if you can resist, this is an amazing experience, gorgeous, exilarating, surprising... (add your superlative adjective here, probably it will fit well).

What can I say? Did you love Crank (and Crank 2)? Well, take it, multiply it for a great factor, and you can have an idea of what this movie is! Visually, it's stunning, long uninterrupted shots of parkour, flying vans after accidents, gun and rifle shootings, and so on and on for 90 minutes.

Sharlto Copley was amazing is his roles, funny, over the top; Henry was interpreted by no less than ten different persons - surely because wearing that kind of camera put a lot of stress on the neck, but I presume also because some of them are better on parkour, others with fighting, or stunts etc. - there are a lot of different action, and you can take your breath for few seconds every dozen minutes, as the action is almost non-stop, really!

The director, Ilya Naishuller, is specialized in POV footage, as you can see in his previous works, but here reached a very high level of perfection; I've never felt the action faked, always focused on what's going on on the screen without thinking for a moment "it looks so fake" as often happens seeing other films, even the high budget Hollywood production. You can also think about it as a first-person shooter video game gameplay, with a very strong plot and video quality.

What can I say more? Maybe I'm a sucker for this kind of movies (Crank 1 & 2, as written, but also Gamer), but I really liked it; think also that with a limited budget of only 2M$ they were capable to do so much! I strongly advice to give it a chance, unless you can't watch too violent content - and I bet you're not that kind!

Vote: 9/10

Found a UHD screenshot of Pacific Rim, and noted that snow (yep, I'm a snow-should-be-whitish-at-least-during-the-day guy, so? ) is a bit too green for my tastes



in comparison, BD is (almost?) right (take in account only colors)



Now, I wonder if this is due to different color spaces, or wrong conversion between color spaces, HDR Vs SDR etc. or just a different grading choice.

Greetings.

According to my profile I've been here for about two and a half years, but it was only a few weeks ago that someone reminded me that I had an account.

I've been active in the OT forums' Star Wars Holiday Special thread, and I suppose that tops my list of interests.

Tied with that, though, are Disney's The Little Mermaid and (almost at the same level) Beauty and the Beast. I enjoyed the live action BatB far more than I expected, and while it may sound heretical parts of it did seem superior to the animated feature. Its major downside was LeFeu's lyrics about how he was illiterate; that moment fell completely flat for me.

Aside from the SWHS, though, I've only posted sporadically.

My avatar is from the Brian Herbert / Kevin J. Anderson short story "The Sands of Dune". Great image, weak-ish story (as are all that weren't by Frank Herbert) and I refer to it as "What happens when Shai Halud gets struck by a nuclear blast?"

I'm very grateful to join this forum! 

If any of you are visitors to Quadraphonic Quad, I'm the same Inquadwetrust that very occasionally posts over there. 

I've been doing my own preservations and restorations as a hobby for about a year now and have spent a lot of time testing various acquisition work flows for Laserdisc capture in my home set up. I'm not coming from a traditional capture card angle as thanks to a broadcast industry friend I have been able to loan stand alone encoders and broadcast IO cards as well as frame syncs that offer a number of other features. I've also bought some legacy devices that have also added other ways to enhance the capture process. I'd be really interested to discuss the methods I have used and I'm happy to post pics and discuss settings. This is most of the gear that I have or can borrow:


AJA Ki Pro Rack SD/HD UDC ProRes 422 recorder
AJA Ki Pro Ultra HD/2K/UHD/4K ProRes 444 recorder
AJA Io4K - allows capture of SD ProRes 444 and 444 XQ also DPX/TIFF and others
AJA FS1-X - up/down/cross scaler frame sync with detelecine
AJA LUTbox 
Leitch DPS-475
Oppo-105D (benchmark player for output, also used for in-line capture process comparison)
Involve Surround Master (4.0 dolby surround decode)
Focusrite Scarlett 18i8 (1:1 audio capture)
Sony EP9ES - AC3 RF convertor 
LEADER LV5700A WFM 
KUMO SDI router for signal management
Star Wars ANH LD Technidisc corrected pressing X 3 (used as a benchmark for anything new)
Star Wars ANH LD CAV 77' audio (another one I have seen so many times I use it with anything new)
Video Essentials LD
A Video Standard LD
Video Essentials DVD x 2
Spears and Munsil HD Benchmark Bluray
Sony BVM-A24E1W HRTrinitron 16:9 HD-SDI monitor - calibrated (does 1080i48 for 23.98/24 IVTC QA)
Sony Analog CRT HRTrinitron monitors - 1 x 16:9, 1 x 4:3 
CLD-D703
CLD-D704
CLD-97 (waiting to be repaired)
CLD-99 
LD-S1
Panasonic DMR-E20 DVD Recorder (used as TBC for LD-S1)
LD-S9 (waiting to be repaired)
JVC 46" Calibrated LCD for HDMI QA
Epson Home Cinema 2000 Calibrated for QA at 7 feet diagonal

All discussions welcome and thank you again for letting me join this forum 

That's right! Google is a slippery, slimy customer but it's no match for a bronze titan!

I caught them (yes, the whole co-operative of evil!) in their nefarious deed while looking up a webpage for the Computer Chronicles: 35th Anniversary Edition project. Reviewing the OldSchoolLaw - List Of Computer Chronicles Shows, I clicked on the link to a Google cache . .

!! CAUGHT IN THE ACT !!

Send in the gods, I mean, the cops ... and lightning-strike, I mean, arrest them all!

If and when you make menus for your releases, what stuff do you consider in the design process? For example, for my Computer Chronicles 35th Anniversary project I'm planning on incorporating elements from all known Season 1 episodes and making it an animated menu, which I will, of course, do at a framerate of 120 FPS for easy downconversion as necessary. I know I'm planning on starting the menu animation sequence with the HP 150, the first touchscreen personal computer, zooming in against a black screen. However, I'm still trying to figure out what comes next.