2021-01-05, 03:32 AM
@PDB Thank you for explaining very clearly and succinctly what I evidently failed to with my admittedly rather irritated and (resultantly) unkind replies. Amongst other things, it rather rubbed me the wrong way to have somebody asking a vague question about "differences" without specifying what sort of differences, then acting like the meaning was obvious and I'm being unfair by pointing out that it wasn't. But I wasn't after a fight previously and I'm still not.
Hilariously enough, for what it's worth, this has actually put me in the mood to watch this film again relatively soon, and to do that in the way I want I'd have to finally get around to syncing the bit-perfect LD captures (primarily fullscreen, with at least one patch from the widescreen) to TAF's main "35 mm" styled regrade project. I enjoyed watching the open matte French DVD but its colours screamed "we did this in a computer to look modern" and that's not what one wants from this film at all; TAF's regrade of it looks a hundred times better, colour-wise. So I guess I'm probably going to (somewhat) prioritise resyncing this to both versions of TAF's project, which I'll probably do almost entirely from scratch instead of working off what I did for the French DVD, because my capture and resync workflow has very significantly improved since then and I actually have a pretty reasonable idea of what the hell I'm doing now. Having said that, I at least documented my work with enough of a trail of breadcrumbs that I can unpick some of it, and I think I'm still going to reintegrate that patch from the widescreen version in pretty much the exact same way as before (sample for sample) because it still sounds totally seamless to my ears. I may do another full cap of the fullscreen LD just to be absolutely sure I'm working from a solid base because there was an irritating inconsistency with A/V sync in my captures back when I did the LD to DVD resync that was caused by a stupid driver problem that I've since "fixed" by rolling back to really old drivers that actually work properly.
I mentioned that it'd be really cool to reapply TAF's colours to the French DVD from source if there's a LUT sitting somewhere in the dark corners of some hard drive, because I found some conversion/encoding issues in the "open matte" project that may have come from upscaling, slightly wonky field-matching, or perhaps a little of both, but those issues do not seem to exist on the DVD itself and I have two copies of the damn thing here to work with. I don't want to try to rebuild the regrade TAF did from scratch if that can be avoided though, firstly it's not really my place to do so (it's TAF's work and it's good work) and secondly I'm a complete amateur with colour work and I really like TAF's results with the colours (I'm convinced anything I attempted would be crap by comparison). It's just that I'm really picky with artefacty things and I suspect plenty others on this forum are even pickier than I am!
Depending on how well TAF's "open matte" video lines up to the actual French DVD source it was based on, I might just hack the start off my existing resync for that one and call it a day, but I'm definitely going to do a whole new resync for the HD master with TAF's colours applied since I think it looks pretty much the best I've ever seen this film look.
Hilariously enough, for what it's worth, this has actually put me in the mood to watch this film again relatively soon, and to do that in the way I want I'd have to finally get around to syncing the bit-perfect LD captures (primarily fullscreen, with at least one patch from the widescreen) to TAF's main "35 mm" styled regrade project. I enjoyed watching the open matte French DVD but its colours screamed "we did this in a computer to look modern" and that's not what one wants from this film at all; TAF's regrade of it looks a hundred times better, colour-wise. So I guess I'm probably going to (somewhat) prioritise resyncing this to both versions of TAF's project, which I'll probably do almost entirely from scratch instead of working off what I did for the French DVD, because my capture and resync workflow has very significantly improved since then and I actually have a pretty reasonable idea of what the hell I'm doing now. Having said that, I at least documented my work with enough of a trail of breadcrumbs that I can unpick some of it, and I think I'm still going to reintegrate that patch from the widescreen version in pretty much the exact same way as before (sample for sample) because it still sounds totally seamless to my ears. I may do another full cap of the fullscreen LD just to be absolutely sure I'm working from a solid base because there was an irritating inconsistency with A/V sync in my captures back when I did the LD to DVD resync that was caused by a stupid driver problem that I've since "fixed" by rolling back to really old drivers that actually work properly.
I mentioned that it'd be really cool to reapply TAF's colours to the French DVD from source if there's a LUT sitting somewhere in the dark corners of some hard drive, because I found some conversion/encoding issues in the "open matte" project that may have come from upscaling, slightly wonky field-matching, or perhaps a little of both, but those issues do not seem to exist on the DVD itself and I have two copies of the damn thing here to work with. I don't want to try to rebuild the regrade TAF did from scratch if that can be avoided though, firstly it's not really my place to do so (it's TAF's work and it's good work) and secondly I'm a complete amateur with colour work and I really like TAF's results with the colours (I'm convinced anything I attempted would be crap by comparison). It's just that I'm really picky with artefacty things and I suspect plenty others on this forum are even pickier than I am!
Depending on how well TAF's "open matte" video lines up to the actual French DVD source it was based on, I might just hack the start off my existing resync for that one and call it a day, but I'm definitely going to do a whole new resync for the HD master with TAF's colours applied since I think it looks pretty much the best I've ever seen this film look.
