Background on the film

The original release date of "Star Trek: The Motion Picture" was on a tight schedule and what debuted in theaters in 1979 had many rough edges, most noticeably some essentially unfinished FX and a rough sound mix. Several important scenes were cut for time to accommodate often languid cutting for those scenes where effects were completed at the last minute.

The Director's Edition of "Star Trek: The Motion Picture" premiered in 2001. It was conceived of by its producers, Daren R. Dochterman, Michael Matessino and David C. Fein, who were longtime Star Trek fans and collaborators with the film's director, Robert Wise.

Robert Wise described the new cut in the liner notes of the original DVD: "Thanks once again to Paramount's support, we have been able to complete the film as "The Director's Edition." In addition to finding a new, and I feel, proper editorial balance for the film, we have also completed those effects shots and scenes which we had to abort in 1979, and have given the film a proper final sound mix. It has been an opportunity which I never believed would happen, and one for which I am grateful beyond words."

The 2001 version was completed in SD, with new effect work by Foundation Imaging. Robert Wise closely supervised the film's cutting, while letting the producers more freely tweak the film's effects. While the 2001 effects cut in fairly successfully with the SD transfer of the film, the fact that it had not been budgeted for an HD master in 2001 limited it to a DVD release. After years of lobbying Paramount, the DE's producers successfully got a greenlight to recreate the edit in HD/4K, working from the most recent 4K remaster of the film that Paramount completed in 2021. Robert Wise passed away in 2005, so this version of the DE was supervised by the producers who kept very close to the 2001 edit, but continued to freely tweak the film's FX. Given their respect for Wise, it's clear they feel these additional changes are within their remit: working from what Wise originally oversaw in 2001.



My Fanedit

I strongly feel that the Director's Edition of "Star Trek: The Motion Picture" is the best version, giving it a necessary final editing pass and finished sound mix. However, the PQ on the 2022 DE is unfortunately quite inconsistent: most noticeably much of the film has been subjected to ugly, aggressive digital noise reduction. The new effects work is also very inconsistent, more understandably so considering their (lack of) resources, but some of it shouldn't have been released as is if they couldn't improve on what they had.

My fanedit syncs all the live action footage from the theatrical 4K master to the DE, eliminating as much obtrusive DNR as possible as well as the often revisionist and wonky color grading used for the DE. It also uses the new effects when needed, but prefers the original theatrical unaltered effects when I felt they were already fully realized. (This is a guideline that is not always strictly followed, both out of necessity as well as personal preference: for example I prefer, and have used, the new matte work on Vulcan). Further work (color-grading, further edits, added grain) has been done to hopefully meld this all together as best it can be. If you are familiar with my old effort to bring the 2001 edit to HD, this follows a similar philosophy.

Video Sources

This edit was completed in 1080p SDR as I do not have the ability to grade or monitor in HDR or 4K.

I worked from these sources:
2021 Theatrical Blu-ray (4K remaster).
2022 "Special Longer Version" UHD (the same 4K master, which I tone-mapped to SDR and matched its brightness with the 2021 Blu-ray).
2022 Director's Edition Blu-ray

The theatrical/SLV master has generally nice quality live action footage, while the DE's live action footage is often aggressively de-noised and features a very revisionist and awkward color grade (frequent use/abuse of power windows and such). The effects footage for both masters is very problematic. The theatrical master often uses a filter that smears all the frames of a shot together, which ruins detail for fast motion, while the DE uses a more traditional, though no less aggressive, temporal noise reduction method combined with sharpening. This often has less fine detail overall but retains detail much better on motion. I tend to prefer the theatrical master for slow-moving model shots as it often looks more natural, while using the DE for fast-moving shots and composite shots with live-action (which are often extremely smeary on the theatrical master). However, this is far from consistent, and many shots do not offer a good option and leave you picking the least bad option or compositing the shots together in various ways to try and minimize the flaws of each source.

Sample Frames and Release Details

Linked below is a general overview of the picture quality as well as some of my changes compared with the DE. This does not cover many of the changes made: nearly every shot is different from the DE, since most of the live action footage has been swapped out for the theatrical master with the special effects reviewed on a per-shot basis. I have also made further adjustments to many, many shots.
Sample frames: https://imgur.com/a/Cq8hwwu

Video: 1080p MKV - 30 GB
Both the video and audio are BD-compliant if you want to remux this for a Blu-ray. This edit runs in sync with the 2022 Director's Edition and you can mux in any audio or subtitles that sync to it. Please support the official release and purchase the official blu-ray or UHD.

Audio:
1. TrueHD 8ch / Atmos Track [eng]
2. Dolby AC3 6ch / Compatibility Track [eng]
3. Dolby AC3 stereo / Commentary with David C. Fein, Michael Matessino and Daren R. Dochterman [eng]
4. Dolby AC3 stereo / Commentary with Robert Wise, Stephen Collins, Jerry Goldsmith, Douglas Trumbull and John Dykstra [eng]
5. Dolby AC3 stereo / Isolated Score

Subtitles:
1. Forced Alien Subtitles - Theatrical “Translation” / These follow the original 1979 subtitles for alien languages with the original typeface. The DE had edited this in an attempt to further obscure that the actors were originally speaking English on set, but I've always found it to be too awkward.
2. Forced Alien Subtitles - DE “Translation” / Direct from the DE Blu-ray
3. English Subtitles
4. SDH English Subtitles
5. Commentary with David C. Fein, Michael Matessino and Daren R. Dochterman
6. Commentary with Robert Wise, Stephen Collins, Jerry Goldsmith, Douglas Trumbull and John Dykstra
7. Text commentary by Michael and Denise Okuda
Also included are an array of subtitles in multiple languages from the official release of the DE.

Changelog:
1.0: Initial Release
1.1: Added more subtitle languages and English SHD subtitles. Both the SHD and non-SDH English subtitles now follow my typesetting for the alien subtitles.
2.0:
- Finessed (ever so slightly) the opening credits, so hopefully the stars don't come off as too sharp compared with the text
- Swapped out some shots of the Klingons in the opening that had smeary DNR in the 4K theatrical master with some from the Director's Edition.
- Various little tweaks on stray shots to try and reduce obvious DNR artifacts. Most notably the theatrical shot of the tram flying alongside the Golden Gate and the shot of Spock entering the orifice should have less dark ghosting that's presenting in the 4K master (I overlaid parts of the uglier but less smeary 2009 master).
- 35:45 Corrected some glitches on this DE recomp and color graded it to the match the theatrical version's colors for a major boost in detail (v1 uses the theatrical version of the shot).
- 1:54:00 For this shot, I overlaid the CGI tunnel over the equivalent theatrical shot. This gives you the continuity of coming out of the tunnel as in the DE while using the original effect.

Now available! PM me (click my user name and then select “Send iguanaclerk a private message”). Also on myspleen and blutopia.

Just joined this platform and can’t wait to find some gems and exchange some ideas.

I used to be very active on FanRes before the forum split but for various unrelated reasons I had to step back from things and never managed to get into a habit of posting regularly here on FanRestore...but now that I'm getting back into the swing of things I thought the best to start would be with an introduction.

As I said I used to be very active here, mostly talking about my work to try and preserve various hard to find versions of Highlander films, which even got to the stage where I bought a beat up 35mm print of a rare version of Highlander 2 and started to slowly restore it! I also chipped in my thoughts and helped give feedback on other topics and projects and generally really enjoyed interacting with everyone.

However around the time of the forum split (sorry if that's a taboo subject, I'm a bit out of touch) my work life started to get busier and then there was an illness and death in the family...all of which sapped any energy I had for personal projects and led to a couple of years of severe burnout. During this period I also had to spend a lot of time away from my home and editing PC so most of my projects just ground to a halt. I don't mean to sound too dramatic, I was never in a harmful place, just a busy one that lead to me having to drop a lot of hobbies I love for a while, but now that I'm back in a good place It's time to start picking up my old projects and working again.

It's not all been bad news though. Through my preservation work I managed to make some interesting contacts and what limited creative capacity I've had in recent years has actually gone towards paid editing work, to the extent that you can now find my name on the 4K Blu Ray release of Highlander! Needless to say being involved with a home video release of my favourite film was a real highlight and a huge boost when I  needed it most.

I'm hoping to pick up some of my old projects and threads here soon. 35mm work has been slow but I'm getting back into the swing of it again, and my video encoding has improved greatly so I might try and put out some improved versions of my completed projects.

To get me back into the swing of things I finally put together the fan edit of Highlander 2 that everyone kept telling me to make. It was a lot of fun and encouraged me to get back into fan editing and fan preservation again. I'm planning to release it properly next month once I've had a bit of feedback from a few friends.

I've tried to at least keep up with PMs while I've been inactive here, but I let them build up again in recent months; I'll try an address each one in the next few days.

TLDR: Sorry I was gone for so long, but I'm back now. I missed this place!

Input Soundtrack: 16-bit, 44.1khz, Stereo (bit perfect)
Output Soundtrack: 16-bit, 44.1khz, Stereo
Ripped by: alinskey

Please thanks and PM for access

NOTE: While exacting bit-perfect accuracy is typically preferred for LD syncs, I prefer to use speed adjustments to keep synchronization. I also insert BD audio to cover reel changes or side breaks when necessary. As well as minor filtering in the form of DC Offset correction, de-humming, and manual declicking (when necessary). 2.0 mono tracks are processed with Voxengo MSED to remove stereo information unless stated otherwise.

Hi all. I'm a big movie sicko and trashhound. I probably won't post too much but I'll be lurking around. If you got a letterboxd account I'm over there at the same username.

Hi Guys,

Happy New Year! What a wonderful community! I'm an editor interested in the history of film. What I found here is a treasure trove of lovingly restored cinema history. Well done and I can't wait to connect with you all.

Each successive home video release since Criterion's Blu has presented Rosemary's Baby with a soundtrack filtered to various degrees, most notably the latest UHD release is highly disappointing. It's been heavily hiss reduced and de-essed to the point it removed a small piece of dialogue and altered another line ever-so slightly. I've gone back to the original R2 DVD which presumably uses the same audio transfer as the 1998 Laserdisc, and synced it to the UHD; it appears completely unfiltered and undoctored. It sounds fantastic! No altered or missing lines from bad "restoration" work.

The sync is all done and ready to be enjoyed! Hit me up and I'll have it out the door.

1. The US/international version, running at 95 minutes and 22 seconds at the HD frame rate (on the 88 Films blu-ray, this includes all intros plus opening and closing credits, including from Fortune Star)
   
2. The HK version (Jackie Chan's personal edit), running at 92 minutes and 7 seconds at the HD frame rate (on the 88 Films blu-ray, this includes all intros plus opening and closing credits, including from Fortune Star)
   
3. The Japanese version, running at 96 minutes and 55 seconds at the HD frame rate (from the 2014 Japanese blu-ray, including all intros and opening/closing credits).
   

• MKV, 17.8 GB, broken up into smaller ZIP files
  
• 24fps, yes TRUE cinematic 24fps, that's frame rate AND speed! Turn your TV's "motion smoothing" function off when you watch this!
  

• 2.0 LPCM mono, Cantonese/English. English is used during all scenes taking place in New York, then it switches to Cantonese for all scenes in Hong Kong. The score is arranged exactly like it is in the HK version even during the NY scenes!
  
• 2.0 LPCM mono, all Cantonese. I used the audio from the upscaled HK version from 88 Films to fill in for the NY scenes. The dialog, while kinda similar, is also a little different in how characters express things, which kinda makes for a whole new dynamic between some of the characters!
  

1. Honestly, I probably could have made the original audio from the Glickenhaus version work in some scenes, but it would certainly have not blended well in others (especially when the action sequences are edited to match Jackie Chan's version). It would just sound too choppy. Seriously, listen to the 3rd audio track on the HK version from the recent Shout Factory blu-ray (where they try to use the Glickenhaus track wherever possible)!
   
2. Also, the original Glickenhaus track is a lot more clean and "light", and less "raw" than the audio from the Japanese and HK versions. It just wouldn't blend well.
   
3. And lastly, the biggest reason I can't use the Glickenhaus audio is because of one single line of dialog: When Moon Lee mentions "The Fortune Teller" during the scene where all the good guys sit on a boat and talk about their plan to take down Harold Ko. Jackie Chan eliminated the whole "Fortune Teller" scene and replaced it with part of a subplot featuring Sally Yeh. But without scene, when Moon Lee mentions "the Fortune Teller" audiences will be like "What, what fortune teller? Did I miss something?!" 
   

• FPO (foreign parts only), for the Cantonese/English track
  
• All dialog SDH, for the Cantonese/English track
  
• All dialog, for the "all Cantonese" track.
  

Hello everyone, i found this magnific community/site searching for a particular Jackie Chan movie (Thunderbolt 1995), and like a lot what i found here.
I like the great work that is being done here and thanks in advance for all effort put in it.

Reboot 1994 tv series needs This specific d1 tape deck Bosch BTS DCR-500 to preserve it in high quality. Please help if you can.