Finger crossed!

Happy to read your posts; it will give an idea of how much work there is behind a "simple" fan edit, preservation, restoration etc.

About fades: I'd prefer a net cut between two shots, instead the morph fade, but this is my personal opinion of course!

And WHENEVER a direct "cut" from scene to scene is possible, I prefer to do that as well. Unfortunately, there are a couple of places where this is just not possible. But, I will try to do my best

Hey! I want to check that new WP!

I want to check the problematic transitions (if they are still there) and try to think of a way of surrounding them, like the "Andrea crying for her sister" scene. Maybe I will give you another perspective and something useable!

To all those that have been waiting on the new workprint, it is finally here!

OK, so as far as I'm concerned, this is the LAST workprint before release. Granted, all foreign tracks still have to be synced properly and custom built, but the "bulk" of work is finished. There are a couple of minor audio fixes needed in English master, but overall, I would have to say that I finally have a properly put together film. The new runtime is now 11 minutes shorter and comes out to 2:08:33, which makes it seem like sooooo much shorter of a movie (for those that have seen last workprint, you will see what I mean) and the following list is of notable changes and/or minor things that I know need to be fixed and feel obligated to mention, as I'm sure you'll notice these and I'm hoping just these. I really hope there will be no "extra" things that you guys notice

Anyway, without further ado, the new timecode mentions:

00:00:54:12-got rid of that "backwards" cop car shot, extended the shot of Shane running across screen, and second part where the "chased" car show blends seamlessly, both video and audio

00:03:12:00- I'm rather proud of this one. This is where I slowly start the theme music intro in the background (which after looking at every episode from season 1-4, ended up using s02e12 because it had the perfect birds chirping in the background, that blended with this scene, and NOTHING else, while the intro "builds" up to the "crash" on the scene change from shane over rick's body to the intro. hope you guys like it, I actually like it more than my previous one, because there I cheated and used the intro from s02e05 (the whole "bombing" scene) whereas here, I custom built this and I'm proud of that. This transition, finding the EXACT FRAME to make the cut, that had to be before the white flash, and that worked as a place to START that build up of the intro music, took me longer THAN ALL OTHER EDITS FOR THIS WORKPRINT from the last version!!

00:04:02:09-here, I left the same fade in that I had in the last version BUT I ONLY left him saying Shane (none of that are you in the john stuff)and cut the two shots where it goes perfectly (it really is seamless) from him starting to look to the right and continuing from the same spot on in the next shot (finding the right frame here only took 10 minutes, LOL) Now there is a sense of "dread and fear, and confusion" that rick feels, is more directly experienced by the viewer.the rest of the scene is in-tact from last workprint

00:18:43:05 here I got rid of the white flash and replaced it with a direct cut from scene to scene. originally I didn't like this, but now (somehow) it just seems to work. I made NO changes to the audio and this transition seems to work, so thanks guys, for suggesting to get rid of that

00:24:05:22-this damn music transition... i've had problems blending together since the first cutting together of this project. the VERY different "tone" of the music and how it gets "violently" louder compared to the first scene that it has been a huge challenge, especially with all the "noise" of the scene in between with morgan, that I finally made a very custom cut on channel 3 (where the real problem was) and the custom extended the rest of the channels that (fortunately) at that point contain ONLY music without extra sfx. I think I finally nailed a smooth, seamless transition and am really looking forward to feedback on this one, as I honestly think this is as good as it gets as any extension of crossfade creates further problems and MUCH worse results

00:24:54:21-again, like the last one, this one was a challenge that finally sounds right and it seems like the transition blends and there is, almost, a "sense of closure" with the music crossfade timing and rick walking away...

00:29:20:10-this crossfade HAS to stay, sorry guys, fade to black doesn't work here (not enough material with audio that MUST be trimmed because of music) and direct cut make the scene change seem WAAAY too abrupt... it's not a bad transition, as the audio seamlessly transitions and the image onscreen do fade relatively well from one to the other. NOT optimal but this is not an editing "error" on my part, but a source limitation

00:41:26:11-this transition works and i nailed this one a long time ago. i had the problem of try to properly "fade-out" the first shot, which is a slow pan going upwards, with basically the same shot in reverse and slightly cropped (first, it's slightly cropped in the actual episode itself, plus I had to crop onscreen credits, but I felt that the music here and the "introduction" that rick just had to walkers, and what the audience sees is outside "paints" an important picture. so, to get to the point, the "subtractive dissolve" crossfade that I use here is INTENTIONAL for TWO reasons: first, like I mentioned already, the panning back and forth and trying to "glue" those together (a fade to black was just kind of dumb here and did NOT work, and due to the cropping in the second episode I couldn't just do a direct cut) Second, the length of the transition (and the EXACT timing down to FRAME) to the music match PERFECTLY, just as we hear the chords of the guitar the transition happens during those chords. I don't know, I'm rather proud of it considering what I had to use

00:41:46:10-we can now hear glen a LOT better and louder, as I cut off over 10 seconds of channel 3 from the first part and therefore, started the crossfade a lot earlier (the entire crossfade there is nearly 40 seconds) before, he was too muffled. however, I did extend the music by one second, for a cleaner fade-out

00:43:39:11-here, I did add the sound of him landing back in, but the gunshot occurs so fast, that the viewer is instantly "drawn" to that. Before, there was an obvious "gap" there where he just, we hear SILENCE for a split second and then the gunshot, now there is continuous "noise" (including the sound of him landing on ground that is PERFECTLY timed to him bending his knees on screen) but everything is just blended now, where the scene "flows" again

00:46:57:00-originally this second shot was in the scene where andrea and rick are talking about the safety on the gun, and the first shot had the sound of the rifle. i REALLY like this little shot and think that inserted here adds a LOT of tension to the scene, where now we hear the rifle at 00:47:03:00 and the rest of the scene is the same as prior cut, however, the sound of the rifle shot is not muffled like it was before, so this is also something I managed to fix

00:50:23:00-here, as has been suggested, I got rid of the entire "let's go downstairs" scenes and the video portion of the transition was a "piece of cake," BUT the audio... f*****************ck... the center channel had an obvious change from scene to scene, as far as what was cut right before or after, and the timing there had to be tight to have a seamless transition (which I did manage to pull off rather easily) BUT the sound of the thunder in the background, and where they were positioned, NOT dependent on the shot changes in original, and what I had onscreen in my cut. finally I had to allow the entire 4 seconds of audio after the video is cut to play out and crossfade into the thunder in binoculars scene, with just the right type of crossfade, right length and timing. the result is seamless, am happy with it, and was a fun learning experience

01:00:13:16-i know, i know, NOT optimal!!! even i'm not fond of this transition, but this one is the best I could do and was really just a source limitation and having to compromise "style" for practicality, because the audio transition is perfect and the timing of the crossfade does work... it's just not what i wanted to use

01:01:12:00-this one I mentioned before, this transition works best for these two scenes, won't rant about this one

00:01:02:12-this crossfade is not optimal BUT ONLY available option for this one due to source limitations, particularly of a start point on the second scene... here, at least the audio blends well, and the transition is fast so not that bad.

01:02:14:00-here, i got rid of the crossfade, as suggested, and it worked really well. so thanx for that guys. here, i custom extended the music fade-in (leaving channel 3 "as-is" like in last workprint) by just a little bit and now it seems to flow properly instead of abruptly starting like before... please correct me if i''m wrong here, as this one still has source material that could be used if needed... i think it's fine and an earlier of a music fadein would be too soon... thoughts?

01:05:06:00-here, i believe that the crossfade work very well and the audio works with it as well

01:05:42:00-here the crossfade stays because of source limitations

01:12:20:12-here, as you guys suggested to try to get rid of crossfade, I got rid of it and the once I found the right frame for end/start point, made a direct cut. this one was easy, as the audio is "as-is" from last workprint. it looks a lot better now, so thank you again guys

01:13:21:00-here the crossfade stays as it works well with white changing into black and the music transition along with that also flows very smoothly

01:14:00:00-here i changed the type/length/timing of crossfade and I think it flows smoother than it did before

01:14:53:00-this is a transition between episodes, where i had fading out footage on one end on fading in footage on the other... to keep the music and the tension that comes with it, plus a smooth flow of the scene, i chose a simple crossfade here and I think it works best. this scene also had custom work done on audio, where channel 3 (again by about 10 seconds) was trimmed back and type of crossfade changes, which brought the audio out nicely. now the sound of daryls crossbow, and rick cocking the pistol is not muffled and the dialog is much clearer, however the music was extended a little bit and now fades out at an "appropriate" time to whats on screen

01:19:42:12-this transition stays due to source limitations that i've explained in a previous post

01:21:55:10-the shot from under the tank that I mentioned in earlier post, only mentioned again because there was a music issue here that was fixed for this workprint...just a matter of changing the timing

01:23:24:12-here, due to audio limitations in first shot, and dialog i am cutting in the second shot, I have to leave the white flash as it's the only this that works, any type of crossfade here doesn't work either

01:35:14:12-here, i got rid of the white flash and now this scene flows smoothly, especially to the music, which i left "as-is" to what was in the last workprint. again, thanx guys because this flows better now

01:37:27:08-NO more Andrea over Amy's body... the audio transition here is good, but I don't like the fade to black. the fade in on the second scene works, but I need to extend the fade out of the first shot (with rick,lore,carl onscreen) by a couple of seconds OR try to just do a direct cut leaving audio "as-is" didn't realize this one was wrong until i finished encoding. other than that, the scene works and everything else from where it fades in is same as last workprint

01:39:30:00-here, i incorporated a white flash that is used for the second shot and it works well, especially with the sfx

01:43:50:00-here, the audio transition needs to be fixed, there is a slight echo of the "chime" here and I need to re-time this once again, as it was better last time and I f*cked it up... oooops LOL

01:45:30:00-again, thanx for the suggestion guys, here i got rid of a crossfade and made a direct cut, now the transition works and had to do very little to fix audio to make it flow smoothly with scene change

01:48:37:10-here, i',m incorporating white flash that is in source footage, between the end of episode 5 and where this scene resumes in episode 6. it works and has to stay

01:52:48:00-this white flash stays due to source limitations which i mentioned in an earlier post

01:55:31:18-here, again, a fade to black and fade from black doesn't work due to trimming of "breakfast" scene, and audio limitations posed by this... a direct cut, with this audio, also doesn't work as i tried it

01:59:04:00-carol saying "oh my god..." and that whole little dialog is cut, but music is used and properly faded out in next shot

02:02:44:12-the music "appearing" and "disappearing" here has been fixed and now is continuous throughout scene... but I think lasts TOO long and should be cut and transitioned EXACTLY at 02:02:59:00, which is 15 frames sooner than it does.... ooops guys, little f*ck up , UNLESS you think it works like this but I think it should cut off just as jenner is really in rick's ear...

02:03:16:00-this music transition is now seamless, before it wasn't timed right

02:04:18:04-fixed the music transition which cut out too much of the sound of the glass falling, this was a simple timing error that got fixed and the music fade-in is more gradual now, where it was too abrupt before...



So these are my notes... As you can see, there really is not much left to fix. the runtime will not alter, as I feel that adding anything now would slow everything down too much, but cutting ANYTHING else out will be cutting TOO much. There is now a very solid storyline there, that is pretty gritty, gory, horrifying, and intense. With the exception of the one fade to black issue I mentioned above, I believe that all the video editing is now complete. And once that minor issue is fixed, I am

finally (after many months of work) ready to encode my "master" 1080p AVC file. I will wait on feedback, of course, before I do this, but I believe "I'm there." Then there are a couple of audio issues to fix, these are also minor and will be easy and fast to fix. Then, it's on to syncing and then custom building 5.1 DTS-HDMA tracks for ALL foreign languages. It's been a very busy weekend, and I will get rough cuts posted of all languages within next couple of days so you guys can verify them before I do the final audio "mastering." Then, I still have to make English subtitles, translate those to Polish, if possible get help translating those (as I'll provide the English ones for an easy timecode template) or use google translator (whatever works, LOL) then design menu/cover/disc art, mux everything, author the discs, find a place to each quality of release (as the BD-50 will be available privately) but there will be an SD copy with ALL audio/subtitle options available publicly (although on the SD copy ALL audio will be lossy) Then, it's on to the next film in the series, which I can't wait to get started on

Can't wait to hear your feedback, and now, here is the link to this timecoded, watermarked, SD sample "Workprint" which is now 1.16GB (due to shorter runtime but same quality)

Quote:https://mega.co.nz/#!EFYh1bBT!rH7lX6vjg1...jWuBD9SEGc

First: you MUST write a long post in the restoration guide, taking all these notes there, including if possible some images here and there, to "break" the long writings; about this, I suggest to use the key "enter" - the strange one on the keyboard right side with an arrow...

Second: great job, I'm happy our feedbacks helped you to sort out the few problems first "workprint" had.

Third: I don't see the point to use DTS-HD MA for material originally in DD... I mean, the original lossless tracks are lost forever when encoded in DD, so converting them to lossless is... pointless IMHO... or not? Apart English - that is lossless IIRC, I'd use a "simple" DD for the other languages, leaving more bitrate for the video - useful in particular if you'll use grain... but, again, this is just my opinion, take it "cum grano salis"!

The foreign language tracks will be custom built using mostly elements from the English master which is DTS-DHMA and I intend on give the audio a "lot of love" to help create these. Basically, all channels will be from 5.1 English lossless master, where only parts that are from lossy sources will be dialog on center channel... And I mean JUST dialog and all non-dialog portions of channel 3(and there is many of them-nearly half the film) will be sourced directly from lossless. I have already tested this "theory" with the Polish audio and I know it can be done. (it will take me approximately one night PER language, but within a week I can have all of them done) The results are surprisingly good and it will be nice to have that option. This release, even with JUST the video, barely fits on a BD-25. Since that's the case (as I would have to sacrifice too much bitrate to fit all video/audio on bd-25 even if all was lossy) I have plenty of room to include the audio. I might as well use the extra space and provide lossless audio since I can and, honestly, I want to. This way, not only will this be the first Fanedit of this type to be multilingual, but also the first to provide all of those audio options with a lossless track.

Now, what is this "enter" button you speak of?! Is this some kind of voo-doo? Is that the funny looking one above the "caps lock" button? I will not enter... I will input... "...need more input... - Johnny 5, LOL



A tutorial, you say? hmmm... we shall see...

Right, a space separating each timecode explanation would make it A LOT easier to read.

If the audio was originally lossy there's no point on enconding it as DTS-HD MA, that's true.

Not downladed yet, but I'm gonna comment on the 00:04:02:09 cut. I know you think it makes sense that he asks for Shane since he was with him when he "faded", but I don't think it works that well. Why? Ok, now that you insist, I'm going to tell you why.

First, the name "Shane" doesn't mean anything at that point. Nobody knows who Shane is because if I recall correctly it wasn't mentioned before.

You could say... no, you ARE SAYING RIGHT NOW: 'But we get Shane is the guy who was trying to save him just a second before'. Just a second? You sure? Now there are full credits running between the shot and Rick calling for Shane. When we come back from the credits and hear him saying 'Shane", we will wonder: 'What did he just say?'

On the other side, I think it works way better he waking up, not talking, trying to get up, falling and calling the nurse with that low voice. He is dehydrated and extremely weak, so he doesn't speak until he panics, when he falls, and just to cry for help.



Oh, and I would like if you could send me a '1080p-size' still of the 'The Walking Dead' screen, the same 'We Are The Walking Dead Screen' and a blank screen (just the background with no text), since I believe I can photoshop the added words to make them match better (the texture is not as good on those added words).


If the english track is DTS-HD MA, it can be done what you say for the foreign languajes. I have seen a lot of russian 'bdremuxes' with custom made DTS-HD MA using the technique you commented. )

Sorry guys, I can put spaces between timecodes in the future

Like I mentioned about the audio, the english master is lossless, and nearly all audio (except dialog) will be lossless in ALL language tracks

As far as the "Shane" thing: watch it and see what you think. IMHO it works very well. and we DO know who Shane is, because right before Rick gets shot, (the second time) he says "Shane, do not tell Lori that happened, ever..." then he gets shot, shane runs to him , boom- the intro, and then rick wakes up in hospital still asking for shane... logically this makes sense as that was who he was just talking to before he lost consciousness and who he thought he was still talking to when he woke up. like i said earlier, watch it and see what you think

As far as the still "shots," I will put those together soon. I understand what you mean about the texture not being a perfect match and this was something I just haven't addressed yet as it's such a small detail compared to the rest of the work. Also, keep in mind that this looks a lot better once the REAL 35mm grain plate is layered onto it (it makes a HUGE difference in blending those letters in) and when it's the 1080p video. I knew the SD workprint looked rough for those letter. Thanx for offering to help with that. I will encode a clip of the intro the way it will look on the "final" release and send you a PM and we can discuss details pertaining to that there

(2015-02-02, 10:01 AM)jerryshadoe Wrote: 00:24:05:22-this damn music transition... i've had problems blending together since the first cutting together of this project. the VERY different "tone" of the music and how it gets "violently" louder compared to the first scene that it has been a huge challenge, especially with all the "noise" of the scene in between with morgan, that I finally made a very custom cut on channel 3 (where the real problem was) and the custom extended the rest of the channels that (fortunately) at that point contain ONLY music without extra sfx. I think I finally nailed a smooth, seamless transition and am really looking forward to feedback on this one, as I honestly think this is as good as it gets as any extension of crossfade creates further problems and MUCH worse results

As you wanted feedback for this one specially, I just watched this one. It is very well done, and there's a lot of unnoticeable work there. I tried to recut that scene at one point (don't remember why) and it was just IMPOSSIBLE as the music didn't match at all. You tweaked the audio extremely well.

00:03:12:00 - Excellent way to go to the credits.

00:04:02:09 - That white fade... NO! It doesn't have much sense. A cut would be better.

(2015-02-09, 04:01 PM)jedeitor Wrote:

(2015-02-02, 10:01 AM)jerryshadoe Wrote: 00:24:05:22-this damn music transition... i've had problems blending together since the first cutting together of this project. the VERY different "tone" of the music and how it gets "violently" louder compared to the first scene that it has been a huge challenge, especially with all the "noise" of the scene in between with morgan, that I finally made a very custom cut on channel 3 (where the real problem was) and the custom extended the rest of the channels that (fortunately) at that point contain ONLY music without extra sfx. I think I finally nailed a smooth, seamless transition and am really looking forward to feedback on this one, as I honestly think this is as good as it gets as any extension of crossfade creates further problems and MUCH worse results

As you wanted feedback for this one specially, I just watched this one. It is very well done, and there's a lot of unnoticeable work there. I tried to recut that scene at one point (don't remember why) and it was just IMPOSSIBLE as the music didn't match at all. You tweaked the audio extremely well.

00:03:12:00 - Excellent way to go to the credits.

00:04:02:09 - That white fade... NO! It doesn't have much sense. A cut would be better.

Thanx for checking that one for me. It was extremely hard to do, to the point where I almost gave up on it a couple of times and I'm glad I was able to pull it off.

I'm glad you like the way it goes to credits

I am willing to alter that to a direct cut if it looks better. honestly, i didn't change this one for two reasons... first, i never thought of it and second I thought it'd be appropriate to use a white flash for him "waking up," but if I was wrong then I can change this