Lately I experienced a lot of crashes, and I thought it was due to hard tasks asked to my poor old PC, using too much filters on a single avisynth script... then, crashes occur also not using avisynth... and I'm starting to think about the causes.

I'm pretty sure now that the guilty is an HDD; easy, you can think, but the fact is, it's not a single, whole disk, but just a partition; I was forced to make two logical partitions, due to the fact Windows XP can't "see" disks bigger than 2GB; the strange fact is the other partition seems to work well!

Something that happens:

• disk is usually very slow during writing, exept with some softwares - TSmuxeR is blazing fast! Some example? 28hrs to rip a 30GB BD, 10+hrs to split a 3GB file in 100MB chunks using 7zip... and keep crashing... using another drive, times dropped to around 1.5hrs for BD rip, and few minutes for the file division!
  
• some files are impossible to delete! They seems to be used by some programs, but that's not true...
  
• copying from/to it takes forever
  
• strangely, using this partition doesn't affect the capture quality, maybe because it's relatively slow.
  

Evil Dead II - Open Matte (Upscale Project #2 v1.3)

See project origin here: https://fanrestore.com/thread-1071.html

Video:
The open matte DVD was upscaled with a combination of super-resolution and nnedi with filters to reduce macro-blocking and edge enhancement/halos. The resulting image was further processed and then re-grained with a real grain best matching the BD version. The video was then color corrected with a 35mm LUT and color matched to some 35mm frames and the 35mm trailer scan from book of the dead(www.bookofthedead.ws)

Audio:
1. Mono PCM 2.0 from the wide screen laserdisc

2. Dolby Digital 5.1 from the open matte DVD.

3. Dolby Digital 2.0 commentary from the open matte DVD.

Pics:




Thanks:
Doombot: for testing
MrBrown: For the Japanese PCM soundtrack

Those of us that work on various projects are all very familiar with having to deal with material that is sped-up or slowed-down due to NTSC/PAL conversions. Granted, most of the time we are slowing PAL audio back down to IVTCfilm, but there are those times where is has to be done the other way around.

In most cases, the audio has to be speed corrected and sometimes pitch has to be addressed too. This is where a rather large amount of degradation occurs that most people are not aware of. If possible, it's always best to use the "original-speed" audio, even if it has to be re-synced to match the project that your working on.

I've been trying to figure out the best way to demonstrate this to people visually, so that the importance of this becomes apparent. After ripping my CD collection recently, I've been having to go through the audio and label some of the unique stuff I have (personal recordings, etc) While doing this, I discovered almost 80 CDs that were copies made on professional equipment of my old audio cassettes. While going through all of it, I was curious about what the spectral analysis of the audio will show me. Even though in the higher frequencies, technically, it's all "noise" - there is a frequency response all the way up to 44.1Khz.

This made me realize that I can easily show how the audio is affected by slowing down or speeding up the audio WITH a pitch correction (In cases where ONLY the SPEED is being manipulated, this does NOT apply)
So, I opened up one of the tracks and slowed it down by 4% applying a pitch correction, saved it. Re-opened the original track, sped it up by 4% applying a pitch correction and saved that. Opened all three in Spek and took some screenshots...



Here is the original, unaltered audio track:



Here is the same audio track, sped up: (notice the frequency cut-off that occurs)



Here is the same audio track, slowed down: (notice the even larger difference in cut-off - THIS happens every time PAL audio is slowed down AND pitch correction has to be applied)






In most cases, the difference will not be this glaringly obvious, which is why I intentionally used this as an example since the audio fills 44.1Khz all the way through - unlike anything we'd see in any project for a film/tv show/etc. Regardless, even though the difference might not be this obvious, it STILL occurs which is why it's important to always try to use the "original-speed" audio.

Hope this helps

Color matching: recolor a video source (usually an higher quality version), to match a second video source used as reference.

Regrade (aka recolor) a video source without using a reference, but only following personal tastes, indications, "feelings" is not color matching, thus projects like these can't be called preservations or restorations, but just fan edits (fanfix, in particular).

As far as I know, at the present, there is NO way to regrade a video source to color match 100% a reference source! (retaining all the image quality and parts of the higher quality one)

There are several techniques to achieve this task, and I'm trying here to explore some of them; if you are aware of any other ones, please let me know!

Merge chroma

This is the best way to achieve (almost) perfect results; just align spatially and temporally the two sources, use the luma of the first source and chroma of the second (reference) source.

Pros: colors are not simply matched, but they are the original ones!
Cons: often the two sources don't match; spatially, they could have different sizes, different framing, rotated and/or distorted image; temporally, if there are some frames missing from the reference, it will be obviously impossible to match those frames. Also, the luma of the two sources could differ greatly in contrast, brightness, gamma, and could lead to wildly different final color appareance.

Color matching tools (video)

There are many softwares around that try to match, mimic the colors of a reference source and apply that to another source; again, you need to align spatially and temporally the two sources.

Pros: usually easy to use and automated, they could match the colors quite exactly
Cons: different softwares/plugins use different methods to accomplish the task, so they have different behaviours, but none could match 100% every frame, every shot, every source; where one is perfect for a given shot, fails on another, and vice versa. Also, some of them require the two sources to have the exact framing and size.

Color matching tools (image)

There are other softwares that do the same, but only to images and not video; you could find an image from a film cell, or a screenshot, then find the corresponding frame of your source, and then match the two.

Pros: this could be the only way to match two sources, if the reference video is not available.
Cons: without best consistent reference images, it's impossible to reach a good result; even with such images, hardly the matching setting obtained from a single image could be used to regrade perfectly a whole movie, but could be useful for a given shot or scene; of course, the more the images to match, the more close the matching will be.


Compare & regrade by eye

This is by far the least precise way to color matching two sources, but sometimes the only one if the previous ones are not possible, or they give not good results.

Pros: you don't need fancy softwares and a steep learning curve, just a simple editor which can allow color settings.
Cons: even if used by editors with perfect color vision and perfectly calibrated displays, it's quite difficult to make a good color match of two sources only by eye.


I noted that sometimes a mix of the previous techniques leads to the best results. Usually, I use only video matching tools, and combine the results to obtain the best final matching. For example, working on my last project, I discovered that doing a second pass (regrade a regraded source), using a different plugin, could help to improve the color matching. Also, the latest technique is to use the merged chroma source as one of the reference, and average it with other color matching regraded versions to further refine the results.

Conclusion: even if it's (still) not possible to color match two sources perfectly, with good will, experience, knowledge, a lot of time and patience, it's possible to catch the "spirit" of the color grading of an inferior quality source, and apply that to a superior quality source, without noticeable problems; almost no one will be able to spot the colors differences only watching the regraded version, unless it is put in direct comparison with the reference source..,

I'm using EasyBD Lite 1.1 that is now available again from dvd-logic website.
When I compile the BD I get this error:

MUXER ERROR: Error in mes file "c:\users\AppData\Roaming\DVDlogic\Muxer\c1\c1e933f08b40de0899b4332efc2c12b8.mes" field with name "ChannelAssign" not exist.

and the compiling stops. Any idea what could be causing it?

When I open that file with notepad this is what it contains

Quote:mes_version=100
type=2
subtype=0x80
can_be_primary=1
can_be_secondary=0
blocks_count=1186202
unit_count=1186202
audio_presentation_type=3
sampling_frequency=1
SamplesPerSec=48000
BitsPerSample=16
Channels=2

Looks like this lovely Mad-Max exploitation just came out on Blu-Ray in Japan. Until now it was only available on DVD (and I suspect almost at VHS quality).


http://www.blu-ray.com/movies/Battletruc...ay/156490/

English: DTS-HD Master Audio 2.0
Japanese: DTS-HD Master Audio Mono
English: DTS-HD Master Audio 2.0 (48kHz, 24-bit)

Link Is No Longer Available From Me
If someone has this and wants to share it, please by all means do so.

This is a little project that taas007 came up with. Take the black and white House of Blue Leaves battle scene and add the color back in. How was it done you ask, let taas007 explain.

"The 1080p color output is created from a mix of the uncut Japanese DVD & the retail US Blu-Ray.

The high-definition B&W Blu-Ray footage is supplemented with luma information from the DVD to recover blown highlights. Then the color from the DVD is upscaled using SuperResolution, added and luma levels adjusted shot-by-shot as the retail Blu-Ray has considerable filtering ontop of the B&W pass.

In essence, it means the highlights are upscaled as they were completely blown in the retail Blu-Ray.

The shot at [1:26:41] has an eight frame color data gap as the DVD cuts to a wide shot (and thus does not provide any usable color data) where the retail Blu-Ray stays with the closeup. The first half of the shot has been slowed down to 93.7% and picks up at 100% from where the Blu-Ray continues. No visible difference.

The result is the US Blu-Ray version with the "House of the Blue Leaves fight" fully in color."


All i did was take taas's reinked video, insert it into the movie and encode it to share with everyone.   

Video

• uncut Japanese DVD & the retail US Blu-Ray
  

• 5.1 PCM from the US Blu-Ray and encoded to DTS-HD Master
  

• English (Forced only)
  

Once upon a time, every film released in home media formats (we are talking end of 70s here) was full screen; to achieve that, many were pan&scan - took just a part of the screen, eventually slide it left or right, and the sides were lost.

After a while, the laserdisc format (followed by all the others) started a new trend, letterboxed movies, where the whole image was displayed, adding black borders on top and bottom; at the time, many were against this, because TV sets were 4:3, and so black bars huge, and image smaller than non-letterboxed version.

Then came the 16:9 TV sets, DVD, HDTV, Blu-ray, and letterbox is the standard "de facto" for released movies.

So, what's about open matte? Well, many movies filmed in 35mm were "soft matted" when projected in the theaters; that mean the whole 1.33/1.37:1 image is used - apart, usually, for FX shots, as the cost of them is directly proportional to image area; then, when projected, a matte mask is put in front of the projector, to get rid of top and bottom parts, and get the desired aspect ratio. There are also some "hard matted" movies, where the black bars are on the print, and so no chance to get back the image parts that were behind them.

Many argue that a movie, at home, should be watched as the director (and/or studios) wanted it projected in theaters, in its OAR (original aspect ratio); I agree, this is the best way to watch it. But an open matte version is a great, alternative way, sometimes, to discover interesting things. Of course, not every one is a good version.

The best chance to find a good open matte version is to find out the OAR and the OM (open matte) AR; 1.85:1 (and smaller) AR and 1.33:1 OM, and in general 1.78:1 OM have often (but not always) a good chance to be good, and lose small to few image on the sides, often gaining more image on top and bottom.

At the contrary, 2.35:1 movies in 1.33 OM are usually heavily cropped, and a bad way to see the movie; also, many movies with a 2.35 (and higher) aspect ratio were shot using anamorphic lenses, so no way to get an OM version of them, but only P&S (Pan and Scan)

Old VHS tapes, laserdiscs and also DVDs offer a vast opportuinity to get 1.33:1 OM versions; I read somewhere that about 80% of the so-called fullscreen DVDs (in opposition to letterboxed DVDs, anamorphic or not) are indeed OM. On BD and HD-DVD, chances to get an OM version are quite rare, while often it's possible to see them on HDTV broadcast, or web download.

While open matte means to get a movie without mattes, not all of them are of the same kind. We could distinguish them in the following main kinds:

• full open matte - the image includes all (or almost all) the letterboxed image, hence a lot more image on top and bottom, while none (or a little bit) of image lost on the sides; this usually happens for movies where OAR difference is not that high from the OM AR - example, 1.66:1 OAR and 1.33:1 OM, 2.00:1 OAR and 1.78:1 OM, but sometimes happens also in other cases - as far as I know, vast majority of 1.85:1 OAR -> 1.78:1 OM is full open matte; 1.50:1 OAR (and lower) -> 1.33:1 could (should?) be the same
  
• normal open matte - the image includes more details on top and bottom in comparison to letterbox, but quite some image lost on both sides; this is the normal situation of higher difference from OAR to OM AR - example, 1.85:1 OAR and 1.33:1 OM, and 2.35 OAR and 1.78:1 OM
  
• open matte cropped - the image gain something on top and/or bottom, but a lot of details are lost on both sides; the difference with pan&scan is that usually no pans occour during the movie, but the OM image remains centered, or offset on given shots
  
• mixed open matte - some scenes could be full or normal open matte, while others could be cropped (usually during widest shots, or shots with special effects) or pan&scan
  
• variable aspect ratio - lately we find some movies, usually shot on IMAX, that retain some shots open matte (full or cropped), while the rest of the movie is letterboxed
  

LIST OF FAN EDITS, PRESERVATION, RESTORATION PROJECTS

Updated 2017-01-23 – 1735 entries - http://blog.sporv.com/fan-edits-master-list

I got the following DTS Cinema audio for trailers (with duration):

Fight Club (48s)
Minority Report (116s)
Speed 2 (97s)
Titan A.E. (38s)
Volcano (a) (60s)
Volcano (b) (146s)

If someone may find the right video to couple with them, please let me know, and I'll upload the needed ones.