Unfortunately they went back to the digital files once already and the result was 2.0.

(2018-02-06, 09:24 AM)zoidberg Wrote: Unfortunately they went back to the digital files once already and the result was 2.0.

Did they go back to the Digtal Files that we're used for the 'film outs'?

As best as I can fathom there was no digital master stored for each shot: a shot would be assembled, rendered and output to film for editing and timing. Then they would work on another shot. I've even heard accounts that the system worked on a frame by frame basis. However all the artwork was stored, this was used to basically 'remake' the film, and then came the tinkering.

(2018-02-06, 09:24 AM)zoidberg Wrote: ... they went back to the digital files once already and the result was 2.0.

To be fair, 2.0 was a remake from the start -- where they changed the color scheme, fogged the focus, re-animated key sequences. I would guess (until I find the example online) that the previous post's "original artwork" shot exhibits these alterations, too.

Knick Knack, on the other hand, went back to the saved source files for the data, which ran on long-gone computers. They translated it to run on their up-to-date systems (as best they could) and had to debug operations to make it work. Their only revisionism was the producer's 2 guilty pleasures (nudge,nudge,wink,wink) gnawing at him (a femi-nazi wife, no doubt?) and performed digital mastectomies on the hapless "female knick-knacks" ... oh and of course, the incessant "hind-sight" color twiddling.  

(2018-02-07, 07:25 PM)BronzeTitan Wrote: Knick Knack, on the other hand, went back to the saved source files for the data, which ran on long-gone computers. They translated it to run on their up-to-date systems (as best they could) and had to debug operations to make it work.

I hold GITS in very High Regard. Even more so than AKIRA.
I find it really sad the same can not be done.

That seems to be the GITS production history. They must have an ongoing financial shortage to constantly make all these shortcuts and half-steps.

BTW, my automated solution to that previously mentioned "odd-ball interlacing" doesn't work for this. It isn't consistent (the market place tilt-down is wavy like a crawling worm whereas other places like the car driving shots have normal cadence interlacing) and has multi-exposures unrelated to normal progressive-to-interlaced video. That means they deliberately played around with the frames of various shots, probably to smooth out cheap/jumpy animation that would be especially noticeable in high-def. Sorry to have raised anyone's hopes over that.

Now, back to color correction and my Plan B (if Plan A didn't work). I think Plan A actually did work but the second plan is a good one anyway. Plan B, of course, was to find more "leaked" GITS sources. As fate would have it, no need for all that sneakin' around. It's been published!     And it's expensive!  

From the Halcyon Realms review of the Ghost In The Shell Archives art book, a fan made this revealing comment of a GITS source material treasure-trove . .

GITS_Fanatic Wrote:Awesome. I already own The Analysis of Ghost in the Shell, Ogura Hiromasa’s Light & Darkness, Ghost in the Shell Continuity Script… now I must buy this one! I’d suggest you check out Proto Anime Cut: Archive, a huge book that contains art from several anime, including lots of stuff from GITS 1995. Most notably, it features background art pieces by Hiromasa which are not found in his Light & Darkness book.

Wow.
When you say expensive, how expensive?

In their group, they bounce around $30-$60 each, from the usual suspects (eBay, Amazon). Of course, one simply must get all of them.      At the very least, the background art books should be indispensable for color correction.