Hello,

Among all the DTS CDs we've accumulated over the years, does anybody have the revised long version of the Digital Experience logo, the one we're more familiar with? I would love to hear that in cinema DTS again.

Or was it on its own CD that we don't have?

Sometimes I wonder how a project maker decides which movie needs a restoration/preservation... so I thought to some ideas to take in account, to choose which movie will be the object of our new project, and what to make with it - if you have further ones, let me know! This could help new (and future) project makers, and also food for thought for the existing ones.

• "unfixed" titles - let's face it, we are a bit tired of all the Star Wars projects, aren't we? That's not the fact we do not love it - we do! - but start a new project about it, unless this is really revolutionary, it will be hardly needed... think about some less known title that needs to be fixed, or even a famous one which is not fixed yet - there are many around...
  
• uncommon titles - some obscure, forgotten one; an old b&w masterpiece, that Hong Kong flick that nobody knows, but also a mainstream title who nobody thinks it needs a fix
  
• not only movies - why don't restore an animated feature, a concert, a documentary, a TV series? Or compile a brand new bonus disc, with all those extra material like interviews, behind the scenes, documentaries etc? Or just clean that old scanned trailer full of scratches?
  
• extended edition - it's common practice to add deleted/extended scenes as bonus material in the released media; why don't put them back in the movie?
  
• theatrical cut - or, there is some rare cases where the only HD version is the extended one; it's good to have this, because we all love to watch more, but to me, it's mandatory to offer also the theatrical cut
  
• original cut - George Lucas docet... do you need more explanations? Apart extensive reconstruction made to such movies, often just few scenes must be replaced to restore an original cut
  
• film scan - let's face it, this is a great option, even if it's an hard (and expensive) task to buy and scan a film, and to restore its colors, clean the dust, scratches etc.
  
• added footage - for your light fan edit, you could think to replace some shots with a different take, or a shot taken from a documentary, trailer and so on...
  
• open matte - yes, we all know that a movie *should* be watched in its original aspect ratio; but sometimes, there are some open matte versions that really deserves to be preserved!
  
• color grading - often the new HD versions have revised color palettes, usually the well-knows "teal & orange"; but if the theatrical colors were different, it's a good idea to try to restore them, in particular if you have a color reference like previously released SD media or film cells
  
• logo free - tough task, if you haven't two different versions with logo placed in different corners...
  
• no HD releases - there are so many great HDTV broadcast recordings out there, that could be used as "HD master" for a project...
  
• upscale 720p - a simple task, that could lead to perfect results if well done, way better than any real time upscaling
  
• upscale SD - but, if there is no HD availble source, this is a viable option; a well done upscale - better using a good SD source, and combine two or more if possible - could outperform any simple upscaling done in real time by an hardware or software player, or display
  
• proper speed - what if the only available HD version has 25fps? Simple, remux it to 24fps (or 23.976fps) to restore the original theatrical version - don't forget to convert the audio, too!
  
• inverse telecine - convert back to film the 29.97fps material, to avoid judder and spare some bits - do not forget to NOT touch the audio, though!
  
• grain plate - the noise reduction applied from the studio removed all the grain? Fear not, just add a real 35mm film grain plate, and the video will look better
  
• colorize a B&W film - ethically, I don't want to pronounce; technically, it's the most hard work possible... as there are not good automatic colorize method (yet), it should be done by hand... good luck!
  

• original audio track - often the audio mix is revised, too; the old laserdiscs, DVDs and even VHS tapes could be a treasure for the original mix present in them. Do not exclude the DTS Cinema tracks, too!
  
• multiple audio tracks - if there are several interesting options, we could add'em all! Also, multi language projects are cool!
  
• subtitle track - sometimes there is no subtitle tracks at all, or it need a fix
  
• literal subtitle - taken from CC or transcripted from the dialog, great for the hearing impaired or not native speaker who wants/needs to understand perfectly the dialog, word by word
  
• multiple subtitles - each sub track takes so little space, so it will be great to add some extra language subs
  

I lament the fact that I had to be the one to create this. I flagged that I might give it a shot in August 2015 on an OT.com thread.

Change list (SPOILERS!):

• 20th Cent Fox logo removed.
  
• The first 36 minutes or so conform to the theatrical version with no changes.
  
• Added the scene with convicts following the scene where Clemens confronts Ripley at the scrap heap.
  
• Returned the meeting between Clemens and Andrews to the workprint cut (no Aaron, but longer than the theatrical cut).
  
• Following Junior's attempt to rape Ripley, the establishing shot showing the prisoners entering the tunnel is returned (Golic smashing the cigerete machine is not include though, because it isn't in the workprint).
  
• The Assembly Cut version of the Bishop-Ripley conversation is used, which is intercut with Golic being confronted by the other convicts.
  
• The infirmary scene with Ripley, Clemens, and Golic is re-cut to better match the workprint, using both theatrical and assembly cut elements.
  
• Ripley says "sounds good to me" after Morse threatens her.
  
• Obviously, they trap the Xenomorph in the toxic waste tank. The Assembly Cut was used for the whole ~18 min sequence with no changes.
  
• The Assembly Cut is used from the scene where the prisoners discuss what to do (immediately after Ripley asks Dillon to kill her) through to the end of the film.
  

What do you get the man/woman who has everything? Why a laserdisc recorder of course:
http://www.ebay.co.uk/itm/142246948379?_...EBIDX%3AIT

Has anyone here ever heard of such a thing? I think it's for broadcast use.

List of some films which used silver retention / bleach bypass; title, type of process, media that used this version for the master - Updated: 2021-07-12

• 1984  used bleach-bypass    UK MGM DVD (September 2004)
  
• 21 Grams CCE https://theasc.com/magazine/dec03/cover/page3.html
  
• Alien: Resurrection    used about a 50 percent level of ACE   
  
• American Gangster    used the OZ process    
  
• Amistad    used ENR
  
• Assassination of Jesse James by the Coward Robert Ford    50% bleach bypass on the negative in order to get the blacks very black    
  
• Behind Enemy Lines    approx. 50 prints were ACE chemically treated
  
• Bird    used ENR  
  
• Bringing Out the Dead   https://ascmag.com/articles/the-end-of-t...-the-1990s
  
• Bulworth ENR https://ascmag.com/articles/the-end-of-t...-the-1990s   
  
• City of Lost Children, The    used NEC    
  
• Cowboys and Aliens    used cross-processing reversal film technique for the flashbacks
  
• Daredevil CCE https://theasc.com/magazine/aug03/cover/sidebar.html
  
• Delicatessen    used bleach-bypass    
  
• Dick Tracy    used ENR 
  
• Django Unchained    used cross-processing reversal film technique for the flashbacks  
  
• Domino    used cross-processing reversal film technique
  
• Evita    used a VariCon and diffusion filters combined with a 30% ENR printing
  
• Fallen    used ENR  
  
• Fight Club    used a silver retention process (maybe CCE?) 
  
• Game, The    used ENR    
  
• Get on the Bus    used cross-processing reversal film technique    
  
• Jade     used just a little bit of ENR     
  
• Kansas City    used Kodak's EXR 5287 stock combined with EST    
  
• Kill Bill    used cross-processing reversal film technique for the flashbacks
  
• L.A. Confidential https://ascmag.com/articles/the-end-of-t...-the-1990s
  
• Ladyhawke    used ENR    
  
• Last Emperor, The    used ENR    
  
• Little Buddha    used ENR     
  
• Lost Souls    used bleach-bypass    
  
• Man on Fire  used a silver retention process
  
• Michael Collins    used ENR    
  
• Million Dollar Baby    used ENR    
  
• Minority Report    used a SB process to the negative  
  
• Munich    used ENR    
  
• Payback    used the CCE printing process, combined with shooting without the 85 filter outdoors on tungsten stock, and using a blue filter indoors    
  
• Reds    used ENR    
  
• Ronin    used pull-processing of the neg combined with CCE printing    
  
• Rookie, The    used ENR
  
• Savages    used in part cross-processing reversal film technique
  
• Saving Private Ryan    was shot on 5293 pushed one stop to 400 ASA, flashed with a Panaflasher (generally), and employed one of the highest levels of ENR used to date (nov 98) on the prints    
  
• Seven    used negative flashing combined with Deluxe's CCE printing process  
  
• Snow Falling on Cedars https://ascmag.com/articles/the-end-of-t...-the-1990s
  
• Summer of Sam    used in part cross-processing reversal film technique
  
• Terminator Salvation    used the OZ process  
  
• The Wings of the Dove https://ascmag.com/articles/the-end-of-t...-the-1990s
  
• Three Kings    used cross-processing reversal film technique
  
• Tucker    used ENR    
  
• U-Turn    used cross-processing reversal film technique    
  
• Underneath, The    used cross-processing reversal film technique    
  
• War of the Worlds    used ENR    
  
• X-Files, The    used about a 50 percent level of ACE 
  

This is a denoiser made by althor1138 and posted on OT a long time ago; I think it could be useful for someone here, too.

A very simple but effective way to eliminate cross colors, rainbows, and other "nice gifts" we can find in our analog captures, in particular from composite formast, like the darling VHS and our beloved laserdisc.

It reduce chroma at 1/4th of the original; don't worry, because even the best Super-NTSC encoded laserdisc will barely suffer using this function; just try and let me know! Thanks to antcuufaalb!!!

Anyone know the best avisynth tools for cleaning up a ld capture? Specifically, raindowing, dot-crawl and other the other joys of a composite signal.

In this thread, we will announce the promotion to Junior Project Maker of Registered users who have released at least one project, and to Project Maker of Power Users who have released several projects (and are longtime members).

Today, the new promoted members are:

The Aluminum Falcon - Project Maker

zoidberg - Junior Project Maker

Congratulations, guys!

I'm pretty sure there are some members who have released projects lately, and had not promoted yet; feel free to post your suggestions here.

Project Info

While Citizen Kane and, to a lesser extent, Orson Welles's follow-up The Magnificent Ambersons are well regarded today, the 1943 film Journey into Fear is often forgotten and extraordinarily underrated.

Despite not receiving official directorial credit, Welles created in Journey into Fear a unique thriller with extraordinary long takes and Wellesian aural flourishes. His third and final feature film at RKO stars most of the familiar Mercury Theater ensemble- Joseph Cotten, Ruth Warrick, Agnes Moorehead, Everett Sloane, and, of course, Orson Welles himself.

A more pulpy adventure than the previous two endeavors, it follows an American engineer in Turkey, who desperately tries to avoid assassination by Nazi spies on a ship full of colorful characters.

In 1943, Welles was no longer in good graces with RKO (perhaps a factor in his lack of official directorial credit). Like The Magnificent Ambersons, Journey into Fear was the subject of radical studio cuts in order to truncate the length. However, unlike Welles's second film, Journey into Fear today survives in two extant versions - a European cut and an American cut, modified by Welles himself, which contains narration and an additional ending coda.

This restored version collects all footage still surviving and compiling it into one unified cut, not unlike Universal's official Touch of Evil Restored Cut or The Munich Film Archive's Mr. Arkadin Comprehensive Edition. The Restored Version here is similar to the occasionally screened Munich Film Archive SD cut, but is superior in terms of audio and video quality.

As the film is not commercially available on home video in the U.S., this custom upscaled BD was sourced from an assortment of DVD and laserdisc releases, which were then post-processed for the best quality possible. To my knowledge, this is the first time that the film has been presented in its entirety at the proper 23.976fps film speed.

Don't expect miracles with the quality, but if you've never seen Welles's third and final effort at RKO, this edition is the ideal introduction and better represents what Orson Welles intended before the RKO interfered.

Video

• R2 Spanish DVD - European Cut [PRIMARY VIDEO SOURCE - best quality]
  
• Laserdisc - American Cut
  

• R2 Spanish DVD - European Cut
  
• Laserdisc - American Cut