Which 4K and 1080p transfer is the best looking out of all of these releases? I'm planning to do my own recreation of the extended "Mall Hours" cut with the newer transfers.

from DVDCompare:

The UK release has all three cuts with 4K mastering, supervised by the cinematographer from the original camera negative (but different to the French and Italian releases), original mono audio, and a large selection of exclusive extras. The limited edition has paper extras and CD soundtracks while the standard edition only includes the feature discs and bonus disc.

The German Limited Special Edition" has all three cuts and some exclusive extras but not all are English-friendly. The VHS-Retro edition has some exclusive extras but only the Argento cut.

The French release has a 4K master supervised by the cinematographer with vastly different timing and framing from the Italian 4K master (see caps-a-holic comparison) and an exclusive English-language commentary.- The Italian set has exclusive extras.

Regular Blu-Ray: http://www.dvdcompare.net/comparisons/fi...?fid=11797

4K Blu-Ray: https://dvdcompare.net/comparisons/film.php?fid=

caps-a-holic: https://caps-a-holic.com/c_list.php?c=3827

I have now finished syncing the 2008 R2/R4 Paramount DVD's audio to the Criterion Blu-Ray

See comments I previously wrote:

(2023-06-27, 02:25 AM)M A Wrote: I have now had a chance to compare the audio from the 2014 Criterion Blu-Ray, the 2014 Eureka! Blu-Ray, the 2007 Criterion DVD, and another track which I found online. It has PAL speedup, so I presume it is the audio from the 2008 R2/R4 Paramount DVD, which is what I will be referring to it as from now on.


2014 Criterion Blu-Ray

Criterion Wrote:The original monaural soundtrack was remastered at 24-bit from a 35 mm optical soundtrack print. Clicks, thumps, hiss, and hum were manually removed using Pro Tools HD. Crackle was attenuated using AudioCube's integrated workstation.

This track is very bad. Heavy noise reduction and so everything sounds extremely dead and muffled.
Spectrum: https://i.imgur.com/gdSVXtf.png
Spectogram: https://i.imgur.com/ZFTFjfM.png


2014 Eureka! Blu-Ray

Eureka's booklet makes no reference to the audio.

This track is certainly better than the one found on Criterion's blu, but is still very muffled and dull.
Spectrum: https://i.imgur.com/kYpyChc.png
Spectogram: https://i.imgur.com/hnvctEu.png


2007 Criterion DVD

Criterion Wrote:The soundtrack was mastered at 24-bit from the optical soundtrack negatives, and audio restoration tools were used to reduce clicks, pops, hiss, and crackle.

Once again, this track is an improvement. Not amazing, but acceptable. Less muffled than the blu-rays.
Spectrum: https://i.imgur.com/ypP73OV.png
Spectogram: https://i.imgur.com/suUfbe6.png


2008 Paramount DVD

Note that the source I found for this had re-encoded the audio at 128kbps

Even better still. It sounds more lively than the criterion DVD and much more so than the blu-rays. It sounds good, but I still think that it could sound better.
Spectrum (speed adjusted): https://i.imgur.com/3iYdRP5.png
Spectogram (speed adjusted): https://i.imgur.com/ocVog3k.png


I am planning on getting started syncing the paramount DVD's audio to the criterion blu at some point.

Thanks to @xwmario for sourcing the SC BD! This is now synced (with tremendous effort) to the Criterion BD which has superior PQ. Please see the quoted post for AQ comparisons.

Input: PCM, 2.0 mono, 1536 kbps, 48 kHz, 16 bits
Output: FLAC, 2.0 mono, 339 kbps, 48 kHz, 16 bits

Notes on the sync:

• Italian cinema at the time frequently had dialog dubbed in post. La Strada is no exception. Additionally, AFAIK some of the actors weren't Italian and spoke their native language on set. Their lines were then dubbed to Italian, so there is no "lipsync" to speak of. This affords us some wiggle room in A/V sync, but since most of us need subtitles, it's still necessary to sync to Criterion's audio somewhat closely to align with subtitle timing.
  
• Criterion BD is 23.976 fps; StudioCanal is 24 fps. Speed adjusted with SoX.
  
• The two BDs are not frame accurate at all (different restorations). They keep drifting apart throughout the film, which greatly impeded syncing.
  
• There are also two or three instances where the SC BD somehow misses a word or two in the middle of a line.
  
• Considering all these factors, I synced this by waveform instead of by editing around where frames diverged. I must have made hundreds of small edits in order to align the two tracks. A vast majority of these edits are simple trims and duplication of silence, but I had to use Izotope RX a few times to interpolate gaps (Spectral Repair) where the SC BD missed more than a couple hundred ms and there was no easy way to duplicate a nearby clip without introducing artifacts. Luckily this worked remarkably well.
  
• I suspect the two audios may be different mixes. Maybe one or both of the restorations reconstructed the mono mix from discrete dialog, sound effect, and music stems?
  
• For example, during a line of dialog between 01:03:11 and 01:03:14, there is a constant bird chirping in the background, but three words are absent on the SC track.
  
• Another oddity: between 01:08:18 and 01:08:26, there's a line of dialog over background music. The SC track started being behind Criterion, but ended ahead. Either there is speed adjustment baked in in the master, or the two tracks are different mixes.
  

(2023-06-24, 12:06 AM)axeyou Wrote: Moshrom/Blah-ray previously compared Criterion DVD, Optimum DVD, and StudioCanal BD. The SC BD was the winner. https://blah-ray.blogspot.com/2018/03/la...-1954.html

I've just ripped my Criterion BD from the Essential Fellini boxset. Here's its spectrogram matching Moshrom's settings (not level-matched to previous BD/DVD but likely doesn't matter given how obviously filtered it is):


Moshrom's spectrogram of the SC BD:


Four-way comparison: https://slow.pics/c/2ABxGJwi

As usual, the Criterion BD features additional filtering in both the high and low frequencies.

Does anyone have the SC BD's mono track (preferably with video for an easier sync)? If not, I can grab a used copy and attempt syncing, but it may be a long time before it gets to me.

Thanks!

Movie: The Shining (1980)
Source: 1999 4:3 Warner DVD
Synced to: UHD

Ref: https://blah-ray.blogspot.com/search/lab...%281980%29

Not sure if anyone has done this, but I gave it a go anyway!!

PM for links (give me 24h to respond)

I'm new here, I know a thing or two about encoding and grading. Thanks for letting me create an account, cant wait to get the links.

Backdraft (1991) :: Audio Sync :: LD [41131] to UHD



Movie: Backdraft (1991)
Source: Universal LD [41131] - 3 Sides | Synced to: Universal UHD
Input: PCM 16-bit, 44.1khz, Stereo (bit perfect) | Output: FLAC 16-bit, 44.1khz, Stereo
Sourced: Soundman | Ripped: Soundman | Synced: BlightedTomato

pm for link

I have a decent enough VCR I believe. What would be the best and/or easiest means to capture VHS? Also curious what filtering processes ought to be performed during capturing or after the fact. Thanks.

What would be the best and/or easiest way to go about this? I want to work on The Phantom Menace, using the 4K UHD as the primary source. Thanks.

Anyone have OG stereo tracks for the following films?

1. Above the Law.
2. Hard to Kill
3. Out for Justice

DVD/BDs are 5.1 remixes only.

And given Steve's current below zero popularity I can't see Warners rushing to put these out on UHD...

Interestingly, despite AOTC having been apparently shot mostly on cameras that only had REC709 color gamut, it seems that many SFX expanded to wide gamut colors, at least for cyan/aqua/turquoise type colors and they seem to have also maybe gone in post and made the Pantoran(?) on the left of the first set of images look way more intense than sRGB/REC709 standard gamut colors can show.

Also interesting and weird, is that the UHD release, although it should be able to show wide gamut colors easily, does not seem to show these wide gamut cyan/aqua/turquoise colors much, if at all, and it almost seems like they locked the post theatrical release workflow for AOTC (and think maybe all three prequels) into standard gamut REC709 at some early point and are now stuck with it?? Either that or maybe the transfer to print film simply way hyped up some of the colors in that part of the spectrum and that is not how it was intended to look even if it was how most people saw AOTC most or all of the time. But it sort of seems almost like they clipped the colors at some point and got stuck with that unless they go back from scratch and rebuild all the post theatrical changes made to the prequels?
 
Here are some demos that show the differences between how AOTC looks when you have wide gamut color palette available vs. when it is restricted to sRGB/REC709 color palette (of course you need to use fully color-managed browser/viewer and have a wide gamut display set to wide gamut display mode with proper display profile installed in order to see the differences, and in some cases, to even see the WG labelled images properly at all). For each pair SG is first and WG is second (should be obvious on a properly set up wide gamut display):