These are some abbreviations for specific phrases commonly used in forums and boards.

Following is a list of some common acronyms and their meanings:

A F A I C — as far as I'm concerned
A F A I K — as far as I know
A F A I R — as far as I remember
A F K — away from keyboard
A S A P — as soon as possible
B B L — be back later
B B S — be back soon
B R B — be right back
B T W — by the way
C U — see you, used as a goodbye.
C U L 8 R — see you later
E O M — end of message
F A Q — frequently asked question
F C F S — first come first served
F Y I — for your information
F W I W — for what it's worth
G J — good job
G M T A — great minds think alike
H A N D — have a nice day
H T H — hope this helps
I I R C— if I recall correctly
I M H O — in my humble opinion
I M O — in my opinion
I M N S H O — in my not-so-humble opinion
I O W — in other words
L M A O — laughing my a** off
L O L — laughing out loud, or lots of laughs
n 0 0 b — newbie, meaning a newcomer not yet familiar with the rules
N P — no problem
O P — original poster
O T — off topic
O T O H — on the other hand
P I T A — pain in the a**
R O F L (or R O T F L) — rolling on the floor laughing
R U — are you?
T B H — to be honest
T I A — thanks in advance
T T Y L — talk to you later
W T F — what the f**k?
Y M M V — Your mileage may vary (you may see different results)

I wonder if there is a best way to load a 29.97fps (actually a 59.94 fields per seconds) interlaced source, divided in several parts, like a TV recorded program with commercial breaks cut away, or a laserdisc capture of several sides, and ITVC it, or if they are all the same...

Is there a cleaned, more accurate version of Jurassic Park out there?

Really interesting site you guys (and gals?) have going on here. I've only known about fanres for the last couple of years, one of my first was jerryshadoe's Last of the Mohicans which I adore, but have grown to love it, not every film, but the concept behind it as it were.

Anyway, just thought I would say hi and thanks to all that are involved with providing/sharing these gems

Project Info
The Umbrellas of Cherbourg, shot on Eastman stock, faded from its colorful brilliance soon after release.

In 1992, a restoration was carried out from separation masters, which brought the film back to its full splendor; at this time, the soundtrack was remixed in 5.1 audio. This restoration also suffered from separation misalignment, as can be clearly seen in its sole available HD rendition, the Japanese Blu-Ray.

In preparation for the film's 2013 French Blu-Ray release (whose transfer later carried over to both the UK and US BDs), the film was digitally restored, with the separation misalignment corrected. A newer 5.1 remix was done, which was closer to the original mono. Unfortunately, the new restoration has a blanket yellow tint, and the original mono was not included in the French, UK, or US BD releases.

This preservation, working from an already high-quality restoration, merely removes the yellow tint from the video and restores two title cards to their original color (red instead of white). A reference used was one of the rare pre-restoration sources: the 1984 Japanese LD. Though this was taken from an already somewhat faded 35mm print, it was still evident that the text of the two title cards were incorrect in both restored versions. 

Aurally, this has two audio tracks: the theatrical mono ripped from the Japanese LD and the 5.1 DTS-HD from the Studio Canal UK BD.

Note that the mono may also be available on the JP BD, but Moshrom, one of this forum's audio experts, seemed to think otherwise. As the Japanese LD is evidently print-sourced (with 35mm) and it does seem strange that the JP BD would use the 1992 restored video but not the restored audio, the mono here is from the LD. The 5.1 DTS-HD from the Studio Canal UK BD was used rather than the Criterion track, which used noise reduction.

Credit to Moshrom, whose blog post summed up a lot of this film's aural history: http://blah-ray.blogspot.co.uk/search/la...%281964%29

Video

• US BD - color-corrected
  

• 2.0 LPCM French Mono Audio (from JP LD)
  
• 5.1 DTS-HD French 2013 Restoration Remix (from UK BD)
  

• English (from UK BD)
  

Project Info
Despite having a lovely restored transfer on DVD, Brides of Dracula has been unable to be brought to BD in equal quality. In a shockingly tragic turn of events, the restored master burned in a Universal. As a result, all BD releases stem from an earlier master, possibly dating back to the LD era.

Aside from having dark, magenta-shifted color timing and enough EE to make the grain turn into noise, the original UK BD (as well as the subsequent Australian and US BDs) were cropped to the incorrect aspect ratio of 2.00. The film, generally recognized as being theatrically presented in either 1.75 or 1.66 (the ratio of the DVD release), was never meant to be cropped this way. However, the DE BD presented the film in 1.78, closer to the correct ratio; unfortunately, it still used the same dark, magenta-tinted, EE-wrought master.

This custom release attempts to address most of the issues baked into the master. Fortunately, color correction and a general increase in brightness bring the master much closer to the look of other Technicolor Hammer horror films; it is a close but not 100% emulation of the restored Universal DVD, which was not absolutely perfect itself. In an attempt to mitigate the EE and noise, the picture has also been slightly softened; the picture has been cropped to 1.66, bringing it to its correct aspect ratio, albeit slightly zoomed (in a similar way that 35mm prints may have been.) The final result looks quite similar to the restored UK master of its predecessor, Dracula '58.

Because I realize the softening of the picture and the cropping to 1.66 might be slightly controversial, I am also making available a Purist Edition, which keeps the 1.78 aspect ratio and leaves the EE and noise, as they are. The color grading and brightness boost is the same between the two releases.

The commercial UK BD is encoded at 24fps, an unusual format which causes issues with some Blu-Ray players; this custom BD has been normalized to 23.976fps, with the audio tracks having been slightly resynced (without any pitch shift) to fit.

Video

• DE BD - color-corrected, cropped to correct ratio, and slightly softened to mitigate EE.
  

• 2.0 LPCM English Audio
  

Project Info
Despite being restored by the BFI, Dracula's UK Blu-Ray release has been met with no small amount of controversy. The image is a lot cooler and darker than previous releases.

Using the recently recovered Japanese 35mm reels and the trailer as a rough reference, it seems that the color timing was indeed incorrect but actually closer than previous home video releases. In this vein, this preservation removes the worst of the blue cast, restoring flesh tones to a natural hue, and also brightens the image, which looked unnaturally dim. However, this does not emulate the color timing of the WB US DVD master, which is far too warm and magenta, looking to have been also taken from a low-contrast interpositive, ruining the mood of the original photography. 

The commercial UK BD is encoded at 24fps, an unusual format which causes issues with some Blu-Ray players; this custom BD has been normalized to 23.976fps, with the audio tracks having been slightly resynced (without any pitch shift) to fit.

Video

• UK BD - color-corrected to remove blue cast and brightened
  

• 2.0 LPCM English Audio
  
• 2.0 LPCM Commentary
  

I've completed a composite version of the RIC in 720p. I have built 5.1 audio for the new scenes that were only ever in stereo or more likely mono on the broadcast. The original release of the RIC has a low bitrate ac3 file, so 5.1 DTSHD-MA is a marked step up.

If anyone with a surround sound set up would like a preview and can offer feedback on the mix, let me know. I only have stereo speakers, so I would like a second opinion before I release the edit to the masses.

Does anyone have experience with capturing u-matic tapes? I have some stuff that I really need to have captured and am looking into the various ways of doing that.

I've been capturing my EPK's from Betacam SP, which is much, much simpler.

With U-matic, you have the question of high-band or low-band and the machines/tapes are much more of a PITA. I don't know anything about baking either, to try and get the footage off the tapes one last time.

Does anyone have any suggestions of places that do capturing? Would really appreciate any suggestions...

jasonwc wrote in this post on Doom9 forum:' Wrote:I did some more testing and I figured out why I thought the delay was 24 ms while others said it was 21ms. We're both right. We were just counting differently. I assumed that if you simply calculated the difference in length between the DTS-HD MA --> WAV output and the Source PCM output, you would find the delay, since I assumed it was just added that number of samples of digital silence to the beginning of the track.

In fact, it seems more complicated but the bottom line is that the delay information is contained in the "Codec delay" tag which can be found in the DTS-HD MA header, readable by DTS-HD Streamtools. All BD sourced DTS-HD MA tracks lack this tag, and therefore decode properly with no delay. "Raw" DTS-HD MA files created with MAS have a Codec Delay of 1024 samples. A DTS frame is 512 samples, so the delay is always 2 DTS frames, or 21.33ms (assuming 48 Khz source). eac3to need merely read the DTS-HD MA header to properly decode the track. Unfortunately the Arcsoft DTS decoder does not strip the first 2 DTS frames as instructed by the header. In contrast, DTS Streamplayer does. Thus, eac3to ought to either read the DTS-HD MA header to detect the codec delay, or, if that is not possible, simply strip the first 2 DTS frames from any raw DTS-HD MA track.


I tested this way using eac3to 3.24 - Source (TrueHD) ---> WAVS ---> DTS-HD MA ---> WAVS
I compared the Center channel mono-wavs.

Original Source: 54:09.288 (155965840 samples)
DTS-HD MA --> WAV: 54:09.312 (155966976 samples)

Difference: 1136 Samples / 48,000 Samples/sec = 23.666 ms

I checked the length/# of samples in foobar2000 and Adobe Audition, and they matched. The DTS-HD MA --> WAV track is 23.666 ms longer than the source WAV.

However, when I checked the actual audio delay in Adobe Audition, I found the delay was actually only 21.35 ms.

Attached I have posted an Adobe Audition screenshot with 4 WAVs compared side-by-side. See
[url=http://img823.imageshack.us/i/audition5.png/][/url]

Wave 1: Source (TrueHD --> WAVS)
Wave 2: DTS-HD MA --> WAVS with -20ms delay
Wave 3: DTS-HD MA --> WAVS with -21ms delay
Wave 4: DTS-HD MA --> WAVS with -22 ms delay

The closest match is Wave3 (-21ms). However, the -21ms sample still appears to be behind by 0.35ms. I calculated this in two ways. First, I calculated the delay visually and saw that the difference was approximately 10:41.777 seconds - 10:41.77665 seconds, which is 0.00035 seconds, or 3.5 ms. I also counted the number of audio samples within the selection and found 17 (18 appear highlighted, but that's because Audition doesn't allow you to precisely select, and it went a bit too far to the right).

17 samples / 48,000 samples/sec = 0.354 ms
Total Delay = 21.35 ms

Thus, it appears that raw DTS-HD MA tracks encoded with the DTS-HD Master Audio Suite (Version 2.50.20) when decoded in eac3to using the Arcsoft DTS decoder, have an additional 23.66 ms in length, but only have a positive delay of 21.35 ms. I have no idea what is going on with the additional 2.3 ms of samples.

Both jj666 and I were able to replicate the same results using a source THD from the Dexter S04 BDs.

Source ---> WAVS ---> DTS-HD MA (MAS Encoder) ---> WAVS

DTS-HD MA WAVS v. Source WAVS:
Additional 23.66 ms in Length
Positive delay of 21.35 ms (appx)

As a DTS frame is 10.666 ms, it appears we were right that the delay is exactly 2 DTS frames, or 21.33 ms.

But it turns out all this testing was unnecessary. Here's the relevant portion of the DTS-HD MA header:

...

Source Samples : 155965840
Sample Rate : 48000Hz
Samples Per Frame : 512
Codec Delay : 1024
...

In other words, the delay can be calculated simply by reading the DTS-HD MA header, and from what we've seen it should always be exactly 2 DTS frames.

1024 samples / 48,000 samples/sec = 21.33 ms delay

So, all eac3to has to do is to read the DTS-HD MA header. DTS-HD MA tracks sourced from Blu-Rays do not have a "Codec Delay" tag in the header, and thus are decoded properly. In contrast, raw DTS-HD MA files produced with MAS do have such a header, and appear to always add a delay of 1024 PCM samples/2 DTS frames. The DTS Streamplayer reads the header and outputs accordingly. Arcsoft does not head the delay info, explaining the 21.33 ms delay in eac3to.