https://fanrestore.com/ Thu, 03 Sep 2026 07:40:49 +0000 MyBB https://fanrestore.com/thread-7266.html Wed, 02 Sep 2026 15:06:02 +0200 ash_82]]> https://fanrestore.com/thread-7266.html
An alternative to the downmix of the 6.1 Blu-Ray track used on this one (with added static)

PM for link

Note on the decoding process, similar to the one commandrbond made for his Shure decoding:
 
Sound Blaster X-Fi HD RCA out goes to the SDU4 XLR in.  SDU4 L-C-R-S XLR outputs go into TRS inputs of a Behringer UMC404HD, 4 mono channels are recorded in Reaper at 48khz/24bits (to avoid any resampling down the line)
Playback and recording are done on separate computers to avoid ground loop or interference.
An empy LFE channel is added for playback compatibility (just like commandrbond I prefer to let the AVR handle bass management rather than create an unauthentic low pass filter).  
The surround channel is duplicated, both SR and SL are attenuated by 3dbs.
The inputs of the SDU4 were very precisely aligned with a 1khz sine wave tone at -18dBFS.
The outputs of the SDU4 are calibrated at a very conservative level to avoid any clipping.
The mix is peak-normalized to the exact same peak level as the original undecoded track (preserving channel balance)
The mix is synced to the original Lt/Rt track and exported in flac 5.0, 48/24]]>
An alternative to the downmix of the 6.1 Blu-Ray track used on this one (with added static)

PM for link

Note on the decoding process, similar to the one commandrbond made for his Shure decoding:
 
Sound Blaster X-Fi HD RCA out goes to the SDU4 XLR in.  SDU4 L-C-R-S XLR outputs go into TRS inputs of a Behringer UMC404HD, 4 mono channels are recorded in Reaper at 48khz/24bits (to avoid any resampling down the line)
Playback and recording are done on separate computers to avoid ground loop or interference.
An empy LFE channel is added for playback compatibility (just like commandrbond I prefer to let the AVR handle bass management rather than create an unauthentic low pass filter).  
The surround channel is duplicated, both SR and SL are attenuated by 3dbs.
The inputs of the SDU4 were very precisely aligned with a 1khz sine wave tone at -18dBFS.
The outputs of the SDU4 are calibrated at a very conservative level to avoid any clipping.
The mix is peak-normalized to the exact same peak level as the original undecoded track (preserving channel balance)
The mix is synced to the original Lt/Rt track and exported in flac 5.0, 48/24]]> https://fanrestore.com/thread-7265.html Wed, 02 Sep 2026 14:52:51 +0200 adadelray]]> https://fanrestore.com/thread-7265.html
I'm very keen to get any theatrical soundmixes of T2 specifically the CDS 5.1 and theatrical 2.0. I would love a copy of the 1993 extended cut as well. I have ripped the 2015 lionsgate blu ray and want to sync these audio tracks to it.

Does anyone have any of these sound mixes on a cloud?

Many thanks.]]>
I'm very keen to get any theatrical soundmixes of T2 specifically the CDS 5.1 and theatrical 2.0. I would love a copy of the 1993 extended cut as well. I have ripped the 2015 lionsgate blu ray and want to sync these audio tracks to it.

Does anyone have any of these sound mixes on a cloud?

Many thanks.]]> https://fanrestore.com/thread-7263.html Wed, 02 Sep 2026 01:13:32 +0200 Krioo]]> https://fanrestore.com/thread-7263.html https://fanrestore.com/thread-7262.html Wed, 02 Sep 2026 01:04:26 +0200 Krioo]]> https://fanrestore.com/thread-7262.html https://fanrestore.com/thread-7261.html Tue, 01 Sep 2026 08:48:16 +0200 rinrinabis]]> https://fanrestore.com/thread-7261.html
My questions:

In the 4k UHD remaster of the Sam Raimi Spiderman Trilogy, do the shots that use CGI get left in 2k or do they do something else to make it look 2k?

Is there a way to keep a film frame 4k and input the 2k CGI in?

What if Sony remastered the Lord of the Rings trilogy (as in made it a 4k digital intermediate)?

P.S. The Frighteners didn’t use a digital intermediate, even though it is CGI heavy.]]>
My questions:

In the 4k UHD remaster of the Sam Raimi Spiderman Trilogy, do the shots that use CGI get left in 2k or do they do something else to make it look 2k?

Is there a way to keep a film frame 4k and input the 2k CGI in?

What if Sony remastered the Lord of the Rings trilogy (as in made it a 4k digital intermediate)?

P.S. The Frighteners didn’t use a digital intermediate, even though it is CGI heavy.]]> https://fanrestore.com/thread-7260.html Mon, 31 Aug 2026 22:05:59 +0200 wright96d]]> https://fanrestore.com/thread-7260.html
]]>
]]> https://fanrestore.com/thread-7259.html Mon, 31 Aug 2026 21:33:21 +0200 wright96d]]> https://fanrestore.com/thread-7259.html Output Soundtrack: 16-bit, 44.1khz, Stereo
Ripped by: williarob

Please thanks and PM for access

Notes: DC offset corrected, 60hz hum attenuated. Very simple sync, just synced the beginning and the side change, but I watched the whole movie and didn't notice any sync issues.

]]> Output Soundtrack: 16-bit, 44.1khz, Stereo
Ripped by: williarob

Please thanks and PM for access

Notes: DC offset corrected, 60hz hum attenuated. Very simple sync, just synced the beginning and the side change, but I watched the whole movie and didn't notice any sync issues.

]]> https://fanrestore.com/thread-7258.html Mon, 31 Aug 2026 16:34:53 +0200 ash_82]]> https://fanrestore.com/thread-7258.html
An alternative to the 2.0 from the US Blu-ray (with added static noise) used on this scan 

PM for link]]>
An alternative to the 2.0 from the US Blu-ray (with added static noise) used on this scan 

PM for link]]> https://fanrestore.com/thread-7257.html Mon, 31 Aug 2026 16:27:18 +0200 ash_82]]> https://fanrestore.com/thread-7257.html + Dolby SDU4 decoded track (flac 5.0)

The print scan only had a -very decent- dual mono optical track

PM for link

Note on the decoding process, similar to the one commandrbond made for his Shure decoding:
 
Sound Blaster X-Fi HD RCA out goes to the SDU4 XLR in.  SDU4 L-C-R-S XLR outputs go into TRS inputs of a Behringer UMC404HD, 4 mono channels are recorded in Reaper at 48khz/24bits (to avoid any resampling down the line)
Playback and recording are done on separate computers to avoid ground loop or interference.
An empy LFE channel is added for playback compatibility (just like commandrbond I prefer to let the AVR handle bass management rather than create an unauthentic low pass filter).  
The surround channel is duplicated, both SR and SL are attenuated by 3dbs.
The inputs of the SDU4 were very precisely aligned with a 1khz sine wave tone at -18dBFS.
The outputs of the SDU4 are calibrated at a very conservative level to avoid any clipping.
The mix is peak-normalized to the exact same peak level as the original undecoded track (preserving channel balance)
The mix is synced to the original Lt/Rt track and exported in flac 5.0, 48/24 ]]> + Dolby SDU4 decoded track (flac 5.0)

The print scan only had a -very decent- dual mono optical track

PM for link

Note on the decoding process, similar to the one commandrbond made for his Shure decoding:
 
Sound Blaster X-Fi HD RCA out goes to the SDU4 XLR in.  SDU4 L-C-R-S XLR outputs go into TRS inputs of a Behringer UMC404HD, 4 mono channels are recorded in Reaper at 48khz/24bits (to avoid any resampling down the line)
Playback and recording are done on separate computers to avoid ground loop or interference.
An empy LFE channel is added for playback compatibility (just like commandrbond I prefer to let the AVR handle bass management rather than create an unauthentic low pass filter).  
The surround channel is duplicated, both SR and SL are attenuated by 3dbs.
The inputs of the SDU4 were very precisely aligned with a 1khz sine wave tone at -18dBFS.
The outputs of the SDU4 are calibrated at a very conservative level to avoid any clipping.
The mix is peak-normalized to the exact same peak level as the original undecoded track (preserving channel balance)
The mix is synced to the original Lt/Rt track and exported in flac 5.0, 48/24 ]]> https://fanrestore.com/thread-7256.html Mon, 31 Aug 2026 16:23:03 +0200 ash_82]]> https://fanrestore.com/thread-7256.html
The print scan only had a -very decent- dual mono optical track

PM for link

Note on the decoding process, similar to the one commandrbond made for his Shure decoding:
 
Sound Blaster X-Fi HD RCA out goes to the SDU4 XLR in.  SDU4 L-C-R-S XLR outputs go into TRS inputs of a Behringer UMC404HD, 4 mono channels are recorded in Reaper at 48khz/24bits (to avoid any resampling down the line)
Playback and recording are done on separate computers to avoid ground loop or interference.
An empy LFE channel is added for playback compatibility (just like commandrbond I prefer to let the AVR handle bass management rather than create an unauthentic low pass filter).  
The surround channel is duplicated, both SR and SL are attenuated by 3dbs.
The inputs of the SDU4 were very precisely aligned with a 1khz sine wave tone at -18dBFS.
The outputs of the SDU4 are calibrated at a very conservative level to avoid any clipping.
The mix is peak-normalized to the exact same peak level as the original undecoded track (preserving channel balance)
The mix is synced to the original Lt/Rt track and exported in flac 5.0, 48/24]]>
The print scan only had a -very decent- dual mono optical track

PM for link

Note on the decoding process, similar to the one commandrbond made for his Shure decoding:
 
Sound Blaster X-Fi HD RCA out goes to the SDU4 XLR in.  SDU4 L-C-R-S XLR outputs go into TRS inputs of a Behringer UMC404HD, 4 mono channels are recorded in Reaper at 48khz/24bits (to avoid any resampling down the line)
Playback and recording are done on separate computers to avoid ground loop or interference.
An empy LFE channel is added for playback compatibility (just like commandrbond I prefer to let the AVR handle bass management rather than create an unauthentic low pass filter).  
The surround channel is duplicated, both SR and SL are attenuated by 3dbs.
The inputs of the SDU4 were very precisely aligned with a 1khz sine wave tone at -18dBFS.
The outputs of the SDU4 are calibrated at a very conservative level to avoid any clipping.
The mix is peak-normalized to the exact same peak level as the original undecoded track (preserving channel balance)
The mix is synced to the original Lt/Rt track and exported in flac 5.0, 48/24]]>