Abstract: The proposal is to make a custom 2.1 mix for the theatrical cut of Alien, using the 2.0 LD PCM of the Sensurround mix as a base.

Initially, I had intended to propose a fully discrete mix based on the Sensurround AC-3 5.1 from the LD, but the recent discovery that everything above 18 Hz is cut off in the 5.1 (probably a consequence of the encoding) makes it seem as if the 2.0 PCM is the better source.

Here is a spectogram of the 5.1.

And here's one of the 2.0.


As the Sensurround mix is something of a rough draft, the basic idea is to splice in sections in which the finished mix is superior from a 2.0 PCM source.

At present, I'm not sure of two things:

1. if there is any interest;
   
2. if I'm the best person to take it on.
   

• retain alternate Goldsmith score at start
  
• put back missing dialog
  
• replace sections in which the Sensurround's sound editing is rough
  
• retain alternate take of "Good morning, Mother."  I don't know about you, but I prefer it.
  
• take the LFE straight from the LD AC-3 5.1 (deep bass throughout)
  
• encode as DTS-HD MA 2.1, allowing the receiver to handle the upmix
  

msycamore Wrote:

• Jerry Goldsmith's score on the title sequence and opening is a little bit different, pay attention when we first enter the corridors of the ship, the 35mm is scored right away.
  
• What appears to be a distant horn emanating from Nostromo when we first see the ship is absent.
  
• Dallas line "Good morning, Mother." is an alternate take.
  
• Kane's line "Roll 92 degrees port yaw." is absent.
  
• Lambert has an additional line of dialogue heard when they prepare to land on the planet, "900 meters and dropping." (subtitled on the 20th anniversary DVD)
  
• From the moment when Nostromo is approaching the planet until they enter the atmosphere, the sound editing is very rough with a few alternate cues heard. (Deep bass from the engines)
  
• Right before the Space Jockey scene, Kane's lines "Come on down here. Something different down here..." are absent.
  
• When the crew discusses Brett's death, Ash's response "Kane's son." is absent.
  

I'm aware of JP1 and JP3 have 35mm scans floating around, so they can eventually be used as color reference for a project, but, what's about JP2 and JW?

This was talked about a couple of times on the OT. I have the Kubrick approved Criterion LD and although I don't know if it is any more accurate than the current BD but I like its colors a lot better. Is there any interest in a regrade to the LD with the PCM, AC3 from the MGM (with alternative lines) and the tracks from the current BD?

Just floating the idea.

• Title: Ruling Class - s01e01 (first film)
  
• Subject: The Hunger Games : http://www.imdb.com/title/tt1392170/
  
• Screenshots: http://imgur.com/a/oOlsq
  
• Trailer: https://www.reddit.com/r/fanedits/commen...it_s01e01/
  
• Released: s01e01
  

• Most of the problems with any given film or tv series cannot possibly be corrected with a fanedit because those problems reach deep into the material or premise
  
• Fanedits can omit troubling sequences, bad acting, poor concepts but only if these sequences are not tied tightly to the overall premise
  

• Most of the time, tvtropes.org Headscratchers can shine a light on things in a project that don't make any sense; sometimes a fanedit can correct these issues, but many of them are either explainable or too tied to the overall premise to be adjustable
  
• The Games are an Empty Threat: problem is that the games are limited as the Capital can't wipe out all the districts so the districts could refuse to participate in the games; however my personal view is that any totalitarian regime will physically, emotionally and psychologically abuse their residents into cooperation -- that's why it's totalitarianism as the governed are under continual threat from a ruling class that could diminish food supply, use elite troops to crack down, execute rebel leaders...etc.
  
• Tribute mines were set off by apples; why wouldn't a tribute throw something at their neighbour's mine during the countdown? My feeling is that after 73 other Hunger Games, someone tried this and their mine too was blown up, so it stays in.
  
• Battle Royale ripoff: I can't do much about this. I've viewed both films and certain elements appear in both films, and Battle Royale was released much earlier than HG. No fanedit could really address this, except to perhaps suggest that they both exist in the same universe. Perhaps we could consider that Battle Royale's government in Japan simply followed Panem's example, or vice-versa? A crosscut fanedit between franchises might be interesting however the older technology used to make Battle Royale probably makes this a big challenge.
  
• Tributes are mostly law abiding in the games apart from taking stuff from one another and also killing one another. There isn't really anything I can do about this, and I agree that things could be far worse in a more realistic portrayal of 24 teenage kids setting out to murder one another. What would stop them from gang rape, torture...etc. I feel that this may have occured in previous games and the government probably cracked down so hard on the tributes doing that shit (forfeits etc), that everyone is probably way too afraid to go there. Remember, these teens are all living under totalitarian rule and also their parents ARE WATCHING.
  
• Population Control: Birth control is probably used by nearly everyone and children are probably a result of failed attempts to prevent conception. Every new mouth is another source of food with lottery, but having too many kids would certainly cause that family to starve. There is probably a limit on the number of kids a family can have as well. There isn't much a fanedit could do about these kinds of thematic ideas, since they are not directly dealt with.
  
• Career system: The idea that every district should appoint their next tributes and train them so that everyone else can take extra food and supplies without any concerns (extra tickets issued etc). There is nothing a fanedit could do to resolve this except to take the approach that perhaps districts tried this in the past and the assigned tributes decided not to volunteer, thus damning everyone else to much higher chances of being selected as tributes. Either that or perhaps the district would have to meet a supply quota to achieve that status and no other district but 1 & 2 could achieve that?
  
• Two Winners: The original had the gamemaster change the rules to distract everyone from riots in d11 and in other places. Last minute he changes it back to ONE WINNER only. I thought that played rather poorly, so I removed every aspect of it, including the berries. They just win. After viewing this, I think the flow is much better in my edit than the original.
  
• Nightlock: The criticism is that it was too fast acting. I thought the whole plot surrounding Nightlock was very propped up, plus it was not used by anyone. Had I found a poison in the games, I'd have started baking poison cookies and leaving them at the Cornucopia. But anyway I got rid of it and I think the pacing is better without it.
  
• Tessera System: Everyone should enter maximum tickets for rations but they don't. If everyone does it, then the whole district would live very well and everyone's odds would be the same. This is much like the career headscratcher, but it adds a dimension that cannot be addressed in a fanedit. My take is that probably in some of the games in the last 73 years a district or two tried to do this and for whatever reason, the Capital punished them heavily for trying to game the system. A hidden quota system also works. Crime in the districts isn't discussed much but I think if a family had a family member abusing the rations, they would probably kill them and it doesn't look like the Capital would even care about that stuff too much. Therefore everyone takes as few tickets as they can in order to keep their family safe.
  
• World Beyond Panem: The series doesn't say whether Panem is the last remaining civ or not. My feeling is that there are other countries on the other continents but for whatever reason Panem can't get there or won't go there. A few explanations are that perhaps the other civs left Earth. It's far enough in the future that it's totally possible. Another explanation is that perhaps diseases/viruses exist from all the wars, so the pop of Panem is susceptible to plagues from other nations. The other possible explanation is that for whatever reason, any attempt to leave the continent ends in death and mayhem. Perhaps other civs are far more advanced and xenophobic? I like to think Battle Royale exists in the same universe, so perhaps Japan has heavily fortified their nation enough to prevent Panem from trying to go there. Also, the Capital is very rich and therefore doesn't need anything else from other countries as it has a slave population doing everything for it. Perhaps slavery is illegal in other countries and maybe Panem doesn't want to start anything? Nothing I can do in a fanedit about that.
  
• Why not volunteer? Tributes are viewed as corpses by everyone else, so this would make it very unpopular to volunteer. Maybe nobody knows about the luxury before the games? The Capital might just spring this on them as a bonus, or perhaps the luxury is the continual state of affairs for Capital citizens and the impoverished tributes see it differently. Like how you'd see a cracker if you were starving... or a loaf of bread.
  
• The Girl on Fire: Why wasn't Peeta known as the Boy on Fire? I think this has to do with the hype over Katniss volunteering for her sister and breaking everyone's heart doing so. She has a much higher profile than Peeta who was a baker's boy and therefore born with a silver spoon considering everyone else from 12. Peeta was less popular than Katniss, too.
  
• The Capital Rushes the Games: Fireballs at Katniss, the Cornucopia bloodbath..etc. There is a LOT of discussion about this on tvtropes. My take on it is that the Capital wants violence and it is a tv show. They can't have everyone die of starvation or disease, so they push confrontations. It makes sense to me, given the totalitarian regime's other methods.
  
• Peeta the Cake Decorator: cut that shit -- it was terrible. Sure he can decorate cakes but the execution of this in the film was dreadfully bad.
  
• Gale, Peeta, Katniss Love Triangle: This was pretty dumb in the films. I've played it down somewhat but certain shots stayed in because they do add to the story a little. Cut Gale's first sequence with Katniss because it seemed too forced that he would follow her out to the woods like that... and a little creepy. Katniss shrieking over a piece of bread was distracting because bread was available and Katniss could sell her wares for some bread probably weekly... so it was overacted, imho. Gale could have volunteered for Peeta if he really loved her and wanted to protect her but he didn't do that because he'd have to die. Therefore Gale's affections are not top-tier, wheras we find that Peeta's are.
  
• Toy Sword: I removed the scene where Haymitch watches some boy get a toy sword because I felt it revealed something out of character for him to be disgusted by that. He's a drunk. Drunks don't care about much except their next drink. I would have left it in if it wasn't for Haymitch's reaction.
  
• Foxface: She knew the berries were poisonous as we see her studying plants early on. Therefore her death is cut and since we don't know how all the tributes died, we can assume she died in some other way.
  
• Clove: She could have let the axe fall on Katniss but she kills the boy about to kill Katniss. She missed Katniss with the knife and she never misses. Clove did nothing when Katniss was cornered at the tree. She monologues when she finally has a chance to kill Katniss and then fails. These were left in because I think Haymitch explains this with his comment about arrogance. Clove was arrogant.
  

• Visual appearance changed to be more old-timey
  
• Sound edits made with a few added music tracks that I feel lift the associated sequences
  

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.