https://fanrestore.com/ Mon, 11 May 2026 22:28:46 +0000 MyBB https://fanrestore.com/thread-6805.html Fri, 20 Feb 2026 01:16:27 +0000 izzybell]]> https://fanrestore.com/thread-6805.html
If you use this forum Dolby Stereo doesn't need an introduction but if you somehow don't know the TLDR is essentially Dolby Stereo was a technique of getting 4 channels of audio (LCRS) to fit into the usual optical stereo track on a 35mm reel via matrixing (if you want to a longer explanation, check here: https://fanrestore.com/thread-3467.html). Sometimes these mixes would play in discrete "Baby Boom" format in 70mm, hence the 70mm Six-Track part of the thread name. Now in the early days of surround sound on Home Media, many releases would choose to just use their existing Dolby Stereo track and process them back to surround (Much like a theater would've done during the original run). Having an interest in these mixes, I have found a way to identify if a release is using an unfolded Dolby Stereo track. 

Software Needed -
Audacity + FFMPEG Plugin
gmkvextractGUI (optional, if extracting from a remuxed source)

For my main example, I'll be using a personal favorite of mine that has two 5.1 tracks on different home media release. Dune (1984).

Below is a screenshot of the surround channels on the 1998 Universal DVD



Now you might already be able to tell that the surround channels look to be the same in both channels. This is the first step in identifying as Dolby Stereo only ever used a single mono surround channel. However the second step is the real smoking gun to prove that this is a Dolby Stereo unfold/Six-Track Mix
By right click on the the leftmost side of the track in Audacity, you can change the track view to Spectrogram which reveals...



Matrixing in the surrounds! The spectrogram can easily show the results of the matrix decoding process which makes it HIGHLY likely a track is an unfolded Dolby Stereo track. Now this isn't 100% definitive for one of those 2 reasons.
1. This is age/budget dependant, Some films had discrete mono surrounds while other relied on matrixing, There's also rare case of a film's original mix having stereo surrounds but being released in Dolby Stereo (i.e Indiana Jones, Popeyes).
2. There are rare cases of remixes using matrixed surrounds (again, Indiana Jones) and/or stereoizing the mono surrounds (Blade Runner). So beware of those.

With that being said I hope this is a useful guide for those looking to find 70mm Six-Tracks or Dolby Stereo unfolds on older releases, Cheers!]]>
If you use this forum Dolby Stereo doesn't need an introduction but if you somehow don't know the TLDR is essentially Dolby Stereo was a technique of getting 4 channels of audio (LCRS) to fit into the usual optical stereo track on a 35mm reel via matrixing (if you want to a longer explanation, check here: https://fanrestore.com/thread-3467.html). Sometimes these mixes would play in discrete "Baby Boom" format in 70mm, hence the 70mm Six-Track part of the thread name. Now in the early days of surround sound on Home Media, many releases would choose to just use their existing Dolby Stereo track and process them back to surround (Much like a theater would've done during the original run). Having an interest in these mixes, I have found a way to identify if a release is using an unfolded Dolby Stereo track. 

Software Needed -
Audacity + FFMPEG Plugin
gmkvextractGUI (optional, if extracting from a remuxed source)

For my main example, I'll be using a personal favorite of mine that has two 5.1 tracks on different home media release. Dune (1984).

Below is a screenshot of the surround channels on the 1998 Universal DVD



Now you might already be able to tell that the surround channels look to be the same in both channels. This is the first step in identifying as Dolby Stereo only ever used a single mono surround channel. However the second step is the real smoking gun to prove that this is a Dolby Stereo unfold/Six-Track Mix
By right click on the the leftmost side of the track in Audacity, you can change the track view to Spectrogram which reveals...



Matrixing in the surrounds! The spectrogram can easily show the results of the matrix decoding process which makes it HIGHLY likely a track is an unfolded Dolby Stereo track. Now this isn't 100% definitive for one of those 2 reasons.
1. This is age/budget dependant, Some films had discrete mono surrounds while other relied on matrixing, There's also rare case of a film's original mix having stereo surrounds but being released in Dolby Stereo (i.e Indiana Jones, Popeyes).
2. There are rare cases of remixes using matrixed surrounds (again, Indiana Jones) and/or stereoizing the mono surrounds (Blade Runner). So beware of those.

With that being said I hope this is a useful guide for those looking to find 70mm Six-Tracks or Dolby Stereo unfolds on older releases, Cheers!]]> https://fanrestore.com/thread-6611.html Sat, 22 Nov 2025 15:02:24 +0000 david49120]]> https://fanrestore.com/thread-6611.html
I only own the DTS Cinema, not the Blu-rays.]]>
I only own the DTS Cinema, not the Blu-rays.]]> https://fanrestore.com/thread-6560.html Thu, 02 Oct 2025 21:44:44 +0000 FilmRestoration2015]]> https://fanrestore.com/thread-6560.html I have a LaserDisc collection of about 75 titles and have been capturing a number of them in OBS Studio via the Hauppauge 610 Video Capture Device connected to my Pioneer CLD-V2800 player and ASUS ProArt P16 laptop. It took me a year of experimenting with various settings in OBS after recording lots of discs, but I finally settled on a group of core settings that yield me a completed capture I am pleased with. All my discs are NTSC and live action, although I plan to add several animated and anime titles as well. I’ve been capturing them at a resolution of 640x480 and with a color space of Rec. 601 (limited range of colors). While the preset fps in my Hauppauge settings is 29.97, I set the Common FPS Values for the output in OBS’ settings to 59.94 fps after reading posts that frames actually get dropped or deleted if captured at lower frame rates. I would rather continue capturing at 59.94 or 60 for the output because I don’t want to lose any frames. OBS automatically converts all interlaced content to progressive. I’ve been recording both the analog and stereo mixes in PCM. The majority of them sound excellent.

Throughout the second half of this year, I’ve been researching and learning about many filters and scripts in AviSynth, which I want to use for much of my post-processing work. I have StaxRip (version 2.50.2-x64) and many plugins/filters from the archived package, which also include those for VapourSynth that I downloaded from GitHub. I’ve been assembling a tentative plan for my workflow and would especially welcome your suggestions to tweak or perhaps add different filters. Feedback on parameters and preset values is also much appreciated.

I have watched at least 60 of my LDs and want the filters to take care of the most common global issues associated with this analog format: chroma noise, jagged edges/shimmering, dot crawl, rainbow patterns, and random video artifacts that pop up. (I may engage in more extensive frame-by-frame restorations for certain titles.) While I would like to clean up those anomalies to a considerable degree, I want to preserve the original texture and detail of the image as much as possible. I have envisioned my restoration project in three parts:

(1) Since nearly every one of my titles was originally shot on film before transfer to LD, I will perform an inverse telecine for each. Since there may have been duplicate frames created during capture, I will make sure TDecimate is part of my script. All of this goes towards converting 59.94 to 23.976.

(2) Anti-aliasing, very moderate noise reduction, and restoration cleanup.

(3) I will be eventually transferring the finished file to a BD-R (720p), which I’ll watch on my QLED TV. I have a region-free Sony Blu-ray player that has an option to output precisely at 720p. At this stage, I will want to convert YUV to RGB and Rec. 601 to Rec. 709. I will be upscaling/resizing the captured SD files to 960x720.

Here are my scripts and projected order for each job’s workflow:

Part 1

Field:
TIVTC
TFM().TDecimate()
cthresh=255

Frame Rate:
ChangeFPS(24000, 1001)


Part 2

Line:
DAA
daa3mod()

Noise:
mClean(thSAD=400, chroma=true, sharp=10, rn=14, deband=4, depth=0, strength=20)

Restoration:
ChubbyRain2(th=10, radius=10, sft=10) # progressive sources only
DOTKILLS(ITERATIONS=1)

Note: I also will probably use DeScratch to minimize and/or remove scratches/tramlines from B&W movies and older films shot in color.


Part 3

Color: YUV / RGB
YUV to RGB
Dither_convert_yuv_to_rgb()
ColorMatrimode="rec.601->rec.709")

I will be using ffmpeg - ProRes as my encoder.
Encoder command line:
Custom: --colorprim bt709 --transfer bt709 --colormatrix bt709

MOV is my container.

Spline64Resize(960, 720, 0, 0.5)]]> I have a LaserDisc collection of about 75 titles and have been capturing a number of them in OBS Studio via the Hauppauge 610 Video Capture Device connected to my Pioneer CLD-V2800 player and ASUS ProArt P16 laptop. It took me a year of experimenting with various settings in OBS after recording lots of discs, but I finally settled on a group of core settings that yield me a completed capture I am pleased with. All my discs are NTSC and live action, although I plan to add several animated and anime titles as well. I’ve been capturing them at a resolution of 640x480 and with a color space of Rec. 601 (limited range of colors). While the preset fps in my Hauppauge settings is 29.97, I set the Common FPS Values for the output in OBS’ settings to 59.94 fps after reading posts that frames actually get dropped or deleted if captured at lower frame rates. I would rather continue capturing at 59.94 or 60 for the output because I don’t want to lose any frames. OBS automatically converts all interlaced content to progressive. I’ve been recording both the analog and stereo mixes in PCM. The majority of them sound excellent.

Throughout the second half of this year, I’ve been researching and learning about many filters and scripts in AviSynth, which I want to use for much of my post-processing work. I have StaxRip (version 2.50.2-x64) and many plugins/filters from the archived package, which also include those for VapourSynth that I downloaded from GitHub. I’ve been assembling a tentative plan for my workflow and would especially welcome your suggestions to tweak or perhaps add different filters. Feedback on parameters and preset values is also much appreciated.

I have watched at least 60 of my LDs and want the filters to take care of the most common global issues associated with this analog format: chroma noise, jagged edges/shimmering, dot crawl, rainbow patterns, and random video artifacts that pop up. (I may engage in more extensive frame-by-frame restorations for certain titles.) While I would like to clean up those anomalies to a considerable degree, I want to preserve the original texture and detail of the image as much as possible. I have envisioned my restoration project in three parts:

(1) Since nearly every one of my titles was originally shot on film before transfer to LD, I will perform an inverse telecine for each. Since there may have been duplicate frames created during capture, I will make sure TDecimate is part of my script. All of this goes towards converting 59.94 to 23.976.

(2) Anti-aliasing, very moderate noise reduction, and restoration cleanup.

(3) I will be eventually transferring the finished file to a BD-R (720p), which I’ll watch on my QLED TV. I have a region-free Sony Blu-ray player that has an option to output precisely at 720p. At this stage, I will want to convert YUV to RGB and Rec. 601 to Rec. 709. I will be upscaling/resizing the captured SD files to 960x720.

Here are my scripts and projected order for each job’s workflow:

Part 1

Field:
TIVTC
TFM().TDecimate()
cthresh=255

Frame Rate:
ChangeFPS(24000, 1001)


Part 2

Line:
DAA
daa3mod()

Noise:
mClean(thSAD=400, chroma=true, sharp=10, rn=14, deband=4, depth=0, strength=20)

Restoration:
ChubbyRain2(th=10, radius=10, sft=10) # progressive sources only
DOTKILLS(ITERATIONS=1)

Note: I also will probably use DeScratch to minimize and/or remove scratches/tramlines from B&W movies and older films shot in color.


Part 3

Color: YUV / RGB
YUV to RGB
Dither_convert_yuv_to_rgb()
ColorMatrimode="rec.601->rec.709")

I will be using ffmpeg - ProRes as my encoder.
Encoder command line:
Custom: --colorprim bt709 --transfer bt709 --colormatrix bt709

MOV is my container.

Spline64Resize(960, 720, 0, 0.5)]]> https://fanrestore.com/thread-6532.html Wed, 10 Sep 2025 18:24:07 +0000 alexp2000]]> https://fanrestore.com/thread-6532.html https://fanrestore.com/thread-6481.html Tue, 05 Aug 2025 07:48:48 +0000 phadron]]> https://fanrestore.com/thread-6481.html what is the proper way to extract CS channel from a "DTS-ES 6.1 Matrix" file?
Thanks!]]> what is the proper way to extract CS channel from a "DTS-ES 6.1 Matrix" file?
Thanks!]]> https://fanrestore.com/thread-6064.html Sun, 08 Sep 2024 03:06:26 +0000 Red41804]]> https://fanrestore.com/thread-6064.html https://fanrestore.com/thread-5876.html Mon, 13 May 2024 01:06:00 +0000 spearmintsatay]]> https://fanrestore.com/thread-5876.html
While I am sure this question has been asked before or in other communities - I am still stuck with this.

What I am trying to do is "burn in" subtitles to my muxed MKV using Handbrake BUT be able to move the location of the subtitles.

I am aware Handbrake does not let you do this - but what would you suggest the best method to do this? 
Do I need to go into the subtitle files themselves & reposition them in something like "Subtitle Edit" ?

I may have answered my own question - but I am just clarifying if there is a better way or not.

Cheers!]]>
While I am sure this question has been asked before or in other communities - I am still stuck with this.

What I am trying to do is "burn in" subtitles to my muxed MKV using Handbrake BUT be able to move the location of the subtitles.

I am aware Handbrake does not let you do this - but what would you suggest the best method to do this? 
Do I need to go into the subtitle files themselves & reposition them in something like "Subtitle Edit" ?

I may have answered my own question - but I am just clarifying if there is a better way or not.

Cheers!]]> https://fanrestore.com/thread-5750.html Sun, 11 Feb 2024 06:21:33 +0000 Red41804]]> https://fanrestore.com/thread-5750.html
Code I used for the first try:
eac3to input.mkv output.mkv +208ms]]>
Code I used for the first try:
eac3to input.mkv output.mkv +208ms]]> https://fanrestore.com/thread-5644.html Thu, 07 Dec 2023 20:43:17 +0000 GjRedo]]> https://fanrestore.com/thread-5644.html
But if it's not 1:1 & I couldn't hear any differance in the not identical part of L & R channels, then I am not sure? Specially if the BD advertises as a Mono 2.0 & the Spectro is not identical.
Here is an example - https://slow.pics/c/Y3vp9qJc . Here is an example of spectro of an Audio advertsied as Stereo Mix - https://slow.pics/c/iTilfeLX

Please correct me if my understanding is wrong & how you guys detect whether it's a Dual Mono or actual stereo. Thanks.]]>
But if it's not 1:1 & I couldn't hear any differance in the not identical part of L & R channels, then I am not sure? Specially if the BD advertises as a Mono 2.0 & the Spectro is not identical.
Here is an example - https://slow.pics/c/Y3vp9qJc . Here is an example of spectro of an Audio advertsied as Stereo Mix - https://slow.pics/c/iTilfeLX

Please correct me if my understanding is wrong & how you guys detect whether it's a Dual Mono or actual stereo. Thanks.]]> https://fanrestore.com/thread-5562.html Sat, 18 Nov 2023 07:27:51 +0000 GjRedo]]> https://fanrestore.com/thread-5562.html
Suppose there is a 2.0 & a 5.1 track present in a BD. The 5.1 is actually the Upmix of the 2.0 track. The BD publisher didn't specify the upmix. Now even if you downmix the 5.1 upmix using eac3to, it's identical to the original 2.0 track. Since it's identical how do you determine that the 5.1 is actually the Upmix not 2.0 is actually the downmix?

Is there anything unique in Pure 5.1, that by examining the upmixed 5.1 one, you can tell that's it's upmix? Or there are other factor? or There is nothing to do except guess?]]>
Suppose there is a 2.0 & a 5.1 track present in a BD. The 5.1 is actually the Upmix of the 2.0 track. The BD publisher didn't specify the upmix. Now even if you downmix the 5.1 upmix using eac3to, it's identical to the original 2.0 track. Since it's identical how do you determine that the 5.1 is actually the Upmix not 2.0 is actually the downmix?

Is there anything unique in Pure 5.1, that by examining the upmixed 5.1 one, you can tell that's it's upmix? Or there are other factor? or There is nothing to do except guess?]]> https://fanrestore.com/thread-5475.html Tue, 19 Sep 2023 20:32:44 +0000 onlysleeping23]]> https://fanrestore.com/thread-5475.html
Is it best to transcode DTS-HD (or True-HD, for that matter,) to PCM before editing?

Thanks for any help!]]>
Is it best to transcode DTS-HD (or True-HD, for that matter,) to PCM before editing?

Thanks for any help!]]> https://fanrestore.com/thread-5430.html Wed, 16 Aug 2023 21:51:24 +0000 Yarp]]> https://fanrestore.com/thread-5430.html Demux a Dolby Surround 2.0 file into separate streams? - VideoHelp Forum

I know this is possible as there's at least one release group online that de-matrixes LD 2.0 mixes to 4.0. Anyone done this before or know where to start?

I forgot I had this thread saved from long ago when I was first looking into this and it has lots of good info (from some members on here too) but would still love any input from anyone that has done this before.]]> Demux a Dolby Surround 2.0 file into separate streams? - VideoHelp Forum

I know this is possible as there's at least one release group online that de-matrixes LD 2.0 mixes to 4.0. Anyone done this before or know where to start?

I forgot I had this thread saved from long ago when I was first looking into this and it has lots of good info (from some members on here too) but would still love any input from anyone that has done this before.]]> https://fanrestore.com/thread-5320.html Wed, 14 Jun 2023 05:06:29 +0000 axeyou]]> https://fanrestore.com/thread-5320.html
Here's a very short sample (ignore the hiss): https://voca.ro/1jBzL2dJmRNC

What it looks like on waveform:



And on spectrogram. It's the highlight in the low frequencies.


My questions:

• What's it called? Pop? Click?
  
• What's the best way to remove them? When there's no dialog, I can duplicate an adjacent segment to cover it. Otherwise, Izotope's "De-plosive" seems to work. Just wondering if there's a more proper tool because "De-plosive" is described as targeting "consonant speech sound."
  

Thanks!]]>
Here's a very short sample (ignore the hiss): https://voca.ro/1jBzL2dJmRNC

What it looks like on waveform:



And on spectrogram. It's the highlight in the low frequencies.


My questions:

• What's it called? Pop? Click?
  
• What's the best way to remove them? When there's no dialog, I can duplicate an adjacent segment to cover it. Otherwise, Izotope's "De-plosive" seems to work. Just wondering if there's a more proper tool because "De-plosive" is described as targeting "consonant speech sound."
  

Thanks!]]> https://fanrestore.com/thread-5172.html Thu, 23 Mar 2023 13:51:42 +0000 alleycat]]> https://fanrestore.com/thread-5172.html
Option 1 would be having a shifting aspect ratio throughout. That would preserve as much of the picture as possible, but it's going to be quite jarring given there is so much 4:3 footage. 

Option 2 would be cropping the 1:78:1 footage so it's the same aspect ratio as the 4:3, that way there is a consistent aspect ratio throughout.

Of course Option 3 would be to do both Option 1 and Option 2 - so people have the choice - but it's more work.

Thoughts?]]>
Option 1 would be having a shifting aspect ratio throughout. That would preserve as much of the picture as possible, but it's going to be quite jarring given there is so much 4:3 footage. 

Option 2 would be cropping the 1:78:1 footage so it's the same aspect ratio as the 4:3, that way there is a consistent aspect ratio throughout.

Of course Option 3 would be to do both Option 1 and Option 2 - so people have the choice - but it's more work.

Thoughts?]]> https://fanrestore.com/thread-5102.html Tue, 17 Jan 2023 13:04:58 +0000 alleycat]]> https://fanrestore.com/thread-5102.html
From a video editing point of view, does this matter enough to pay double the price? I obviously do color grading but not so much by eye, I'm using references from other sources, lumetri scopes etc. I wonder if the higher end models are aimed more at people/professionals shooting their own footage/photographs and then grade it? Anyone use a calibrated color accurate monitor?

Happy to pay for the top end but don't want to throw away money on something I don't really need.

Thanks]]>
From a video editing point of view, does this matter enough to pay double the price? I obviously do color grading but not so much by eye, I'm using references from other sources, lumetri scopes etc. I wonder if the higher end models are aimed more at people/professionals shooting their own footage/photographs and then grade it? Anyone use a calibrated color accurate monitor?

Happy to pay for the top end but don't want to throw away money on something I don't really need.

Thanks]]>