Unfortunately, the full version of the film was not released on BD, it was still available on VHS, videocd and possibly on DVD, but I'm not sure.

I don't know either, but maybe they showed the full version on HDTV in Europe and it would be nice to get one if it exists.
If anyone has information on this film, I would like to hear your opinion

This is regarding Disney' recent Darby O'Gill release.

First, the Blu-ray has 96kbps 1-channel Dolby Digital audio.

Second, they cropped the image from the original aspect ratio. I don't know why, the DVD was 4x3 and advertised as OAR.
Finally, the color timing. So so awful. Screenshots are BD vs DVD.








I found there is an old Amazon rip from several years ago that seems to be frame for frame identically timed with the BD (I need to check though), but the web-dl is full frame with the original colors found on the DVD and higher bitrate audio.

I'm always hesitant to take on color adjusting projects since I have color blindness and could very likely make things worse, but am I wrong about this?

Is it really possible Disney took their old streaming master, cropped it, gave it to a kid with no experience to color-time it to like an Underworld film?

I really can't decide if fixing an overcropped release is worth it for the slightly better detail... unless we add the streaming video above and below...

This is another Director's Cut that hasn't seen an official release on Blu Ray. This project was created by taking the 1080P Director's Cut Webrip and combining it with the official Blu Ray theatrical cut footage. The Webrip was only used for the additional/alternate footage. Overall there are 54 differences and it amounts to around a minute longer. Everything here is native 1080P, there is no SD upscaled footage. The Blu Ray footage was also dehalo'd a little in Avisynth.

Due to the size of the project I decided to split this one over two BD25s, one with the main movie and one with the extra features.

• 2 x BD25 with animated menus, background video, pop up menus and resume function
  
• 1080P AVC Video
  
• English 5.1 DVD AC3
  
• English 5.1 DVD DTS
  
• French 5.1 DVD AC3
  
• Audio Commentary by Director Michael Bay and Film Historian Jeanine Basinger
  
• Audio Commentary by Producer Jerry Bruckheimer and Actors Ben Affleck, Alec Baldwin and Josh Hartnett
  
• Audio Commentary by Cinematographer John Schwartzman, Production Designer Nigel Phelps, Costume Designer Michael Kaplan, Supervising Art Director Martin Laing and Composer Hans Zimmer
  
• English SDH Subtitles
  

• There You'll Be" Music Video by Faith Hill
  
• National Geographic Beyond the Movie: Pearl Harbor Preview
  
• Journey to the Screen: The Making of Pearl Harbor 2001 documentary
  
• Production Diary - 10 behind the scenes clips with Optional Commentary by Michael Bay
  
• Soldiers Boot Camp (with Josh Hartnett, Ben Affleck, and Ewen Bremner)
  
• Officers Boot Camp (with Alec Baldwin)
  
• Super 8 Montage
  
• Theatrical Teaser
  
• Theatrical Trailer
  
• One Hour Over Tokyo 2001 documentary
  
• Unsung Heroes of Pearl Harbor 2001 documentary
  
• Oral History: The Recollections of a Pearl Harbor Nurse 2001 featurette
  
• Interactive Attack Sequence - 4 Angle Options and 7 Audio Options - can be changed using red/green remote buttons during playback
  
• Deconstucting Destruction: A Conversation on Visual Effects with Michael Bay and Eric Brevig
  
• Animatic Attack
  
• When Cultures Collide
  
• Image Gallery
  

Ray Faiola here from Chelsea Rialto Studios in Ellenville, NY.

It's been a while since this has been discussed but I thought I'd start a new thread regarding the various types of silver retention processes for colour positive projection prints, obviously the most well known are the Technicolor ENR and Deluxe's CCE/ACE.

As I understand it ENR/ACE had adjustable levels of silver retention whereas CCE was a fixed process. In any case the prinicipal photography had to be such to accommodate the extra contrast, shadow level and colour shifts which the process created (ie flashing the negative, production/costume design etc), simply putting a conventionally-shot negative through a silver retention process would wreak havoc on shadows/skin tones etc. Basically the silver grains which acts as the precursor to the colour dye cloud forming remain in various levels according to density. This has the effect of blocking light, reducing saturation and adding extra edge definition due to the metallic silver having cleaner edges than dye clouds. 

I guess the most famous features which got silver release prints would be Se7en, Saving Private Ryan, Alien: Resurrection, Sleepy Hollow, Fight Club; I'm sure there are many more but those are the ones that spring to mind. In most cases the majority of prints were standard colour prints which attempted to approximate the look, very few true silver prints were struck due to the costs involved. There are of course features which used skip bleach/bypass on the o-neg which is it's own thing that introduces different characteristics, Minority Report being such an example but I believe there were ENR prints made for that film too. 

Has anyone here been fortunate enough to see a true silver retention print out in the wild? I believe a privately-owned CCE print of Se7en gets shown occasionally around the world and by all accounts it is DARK to the point that the frame literally disappears into the masking. 

It seems mad to me that digital hasn't really been able to emulate the look yet, but then again digital promised more than it could deliver in general. It's worth remembering that unless a display is capable of something approaching close to true black then no matter how good the source is the result won't be as effective, if anything it will look worse than not as the milky blacks will overpower the image. I guess the films crying out the most for a regrade would be Alien: Resurrection and Se7en, I know there's a custom of Se7en out there but that is a regrade to the Criterion master which was based off a low-con print. I think the A:R LD being taken from a silver print was debunked long ago.

Hi,

Has anyone preserved the dubbing track (incorrectly referred to as the "music-minus-vocals track") from the 1996 Warner LD (14546) of Willy Wonka & the Chocolate Factory as a 16-bit lossless PCM WAV file or 24-bit lossless FLAC file in 2.0 mono sound? I would like it to be synced to the 4K UHD Blu-ray and 1080p Blu-ray so I can mux the synced-to-the-1080p-Blu-ray version to my MKV file rip of the movie from the regular Blu-ray from the 2011 40th Anniversary Ultimate Collector's Edition box set.

Thanks!

Hello all,

Would really like to get into colour grading projects after spending a lot of time on audio syncs over the last couple of years. I know there's a number of members here who definitely know there stuff so was hoping for a few pointers/guides to get me started.

Got 12 potential projects where I'd like to regrade a high quality file to an older source. I've got Resolve installed but not used it yet and have a pretty good handle of Virtualdub (used it for a very basic colour correction project some years ago).

I've also got a workflow to convert the files I'm looking to grade into Resolve so ok in that respect.

Main question would be - what next? Do those of you that regrade use the Dr. Dre tool or soemthing else? I'm pretty sure it's going to need something like that to get things closer to the source(s) I'm looking to match to.

I've watched a video on the scene detection tool in Resolve and that seesm like a good way of being able to grade scene by scene but any advice in this area would be welcome too.

That's probably enought to get started but I'm sure I'll have more questions are things progress!

" In cooperation with Kodak, Panavision and FotoKem, Imax will make and deploy at least four new, state-of-the-art film cameras over the next two years — growing its existing group of film cameras by 50% — with plans to put the first new device into use by late 2023.

IMAX is working with filmmakers such as Jordan Peele and Christopher Nolan to identify new features for the prototype development phase, which is already underway. Peele’s next nightmarish film “Nope” (hitting screens on July 22, 2022) and Christopher Nolan’s upcoming war epic “Oppenheimer” (on track for 2023) were shot using the current generation of IMAX film cameras and Kodak 65mm film."

They will be quieter and lighter ( I assume that's what they mean by 'more usable' )

https://variety.com/2022/film/news/imax-...235208022/
https://ymcinema.com/2022/03/18/imax-dev...m-cameras/
https://www.hollywoodreporter.com/movies...235113253/


No word on any new 15/70 projectors but this is a huge step in the right direction that I honestly thought wouldn't happen the way IMAX INC has acted in recent years.

Wondered if anyone knew - obviously upscaling results differ between programs and settings etc. When downscaling video, say 4k to 1080p, do different programs yield different results? For example is there any difference between using the resize filter in Virtualdub and the scale in Premiere? Or are they all as good as each other? I can't see any difference but wanted to check if there in theory should be. Thanks

This video was created by faneditor TheMilkmanConspiracy. I did not touch the video in any way. This version of the The Whole Bloody Affair is as close as possible to the version Tarantino screens and does not include the Michael J White scene. In addition to upscaled SD footage from the Japanese DVDs it also includes the color House of the Blue Leaves fight sequence done by @taas007. Thanks to all involved.

What I did do was redo the audio. So here you have both the AC3 and DTS tracks from the Japanese DVDs, in addition to every special feature I could find from multiple releases. Many thanks to @MrBrown for providing me with the Japanese verison of Part 2 as I only had the Hong Kong Disc.

• BD50 with a menu, background video, pop up menu and resume function
  
• 1080P taken from the blu rays with upscaled SD inserts
  
• English 5.1 AC3 and English 5.1 DTS from the Japapnese DVDs
  
• English Japanese Parts Only and English SDH Subtitles
  
• The Making Of Kill Bill
  
• Making Of The Teahouse Sequence
  
• Storyboards for the Anime Sequence
  
• The 5,6,7,8s Bonus Musical Performance
  
• The Making Of Kill Bill 2
  
• Kill Bill 2 Deleted Scene
  
• Chingon Performance from the Premiere
  
• Kill Bill 2 B-Roll
  
• Kill Bill 2 Los Angeles Premiere
  
• Kill Bill 2 Interviews
  
• Kill Bill 2 Select Scene (Alternate Takes/Cuts)
  
• Kill Bill 2 Select Soundbite (Cash & Director Interview Clips)
  
• Kill Bill Trailer
  
• Kill Bill 2 Trailer
  
• Kill Bill Combined Trailer