Hey all,

I'm looking in to a new AMD FX CPU as I am not set up for Ryzen just yet. It's a toss up between the 8350 or the 8370. I not a gamer. I'm not looking for any Intel cpu related info or suggestions.

I have a Gigabyte Radeon R7 370 graphics card, 2GB OC Edition. 16GB of RAM. Gigabyte GA-890GPA-UD3H AM3 AMD Motherboard Rev 3.0. Running Windows 7 Ultimate but considering an upgrade to Windows 10 Pro to shrink the footprint.

Any of you have some insight on which of the two AMD FX might be the wiser to consider?

Thanks

Hi, I am Maria,
I do like movies, but don't know much about this technical side. I am here thanks to Andrea and because of curiosity and really amazed actually what you are doing, with colours f.ex. I would like to look little further what is this film restoration world, thanks!

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According to the lddb, the Criterion LD was the last edition to use the original mono audio track:

https://www.lddb.com/laserdisc/03860/CC1...al-Edition

All releases since have utilised an altered version, even the Shout! Factory edition and the Arrow edition. Arrow posted on fb that they searched MGM archives high and low, and were unable to find the original mono mix.

So I was wondering if any of you might have a copy?

Hi everybody,

I'm a movie fan from France. I write in english every day, although it's not my native language.

I found this forum googling info about KK650's "The Fellowship of the Ring" regrading. Google led me right to this topic : https://forum.fanres.com/thread-2239.html

I am a big music / movies lover, with about 1000 CDs and about 700 movies.

90% of them have now been ripped to my file server with about 8 TB of storage. It's a long and painful process, but ultimately it's worth it.

I use foobar2000 as music manager AND also as video manager (work in progress).

I use MPC-HC and MPV as video players (VLC comes after).

I guess that's all for the moment

Jose

Does anyone know where I can find this logo:



Damn Warners wiped their classic logo's from like 90% of their HD releases. It's the static Warner, scope logo post Saul Bass logo, mid-80s on.

It appears to be number 11 here:

http://annyas.com/screenshots/warner-bros-logo/

(Hey, I'm at 3000 posts, that's neat and shocking at the same time)

does anyone have the Laserdisc PCM 2.0 Dolby Surround mix of Backdraft? I would love to sync it to the Blu-Ray/DVD Version!

I've been asked a lot of times to outline how to make a high quality film scanner.
There are multiple approaches to this, and I keep putting it off, so this is a Work In Progress thread, where I will bash out the concepts, and with some feedback from everyone as to which approach they would prefer, we will put together a guide.

Again, this is going to be a bit of a mess in this thread, and at the end of it, I'll put together a proper guide. In the meantime, I will keep editing this first post as I get time.

So, let's get started.

OVERVIEW.
We need to take film, move it through a film gate, and take an image of each frame and store it for editing later.

Basically, there are three main approaches.

1) Frame by Frame Scanning
2) Realtime Continuous Movement Scanning
3) Realtime Intermittent Scanning

We will get back into these later, but let's take a look at the hardware options.
Again, there are a few ways to go here.

FILM TRANSPORT:
We need to be able to move the film through the scanner so we can take an image of each frame. This needs to be fairly high precision and robust, we will be scanning 175000 frames or so for each 2hr movie.
Some of the options are:

1) Build from scratch, using 3D printing and traditional tools.
2) Use an existing projector for the film transport (i.e. to move the film)
3) Use another piece of existing cinema equipment such as a camera or film editor
4) Use a flatbed scanner or similar.

SENSOR:
This is the 'Camera' that takes the image of each frame. It really can be anything that can capture an image, but the main requirements are that it has a really wide dynamic range (to be able to capture detail in the shadows and the highlights), be consistent with exposure (this usually means global shutter) and can be controlled or synchronised in some way with the film movement.
The sensor can be mono or colour.
With mono you will need to do three exposures, one each for Red, Green and Blue. This can be with separate R,G,B light sources, or white light and RGB filters.
With Colour you will need a full spectrum light source, such as Halogen or a very high CRI white LED source, or with an array of Red, Green and Blue LEDs.
You may also want to get a sensor that is sensitive to Infra-red so that you can capture a damage matte. Colour film is invisible as far as Infrared light is concerned, so the film appears perfectly clear in that light. This means the only thing captured in infrared is any dirt or scratches or damage. This makes it easy later to use the infrared image as a mask for digital cleanup later.

1) USB3 Machine vision cameras with external trigger option e.g. Point Grey Grasshopper/Blackfly etc.
2) Realtime Cine cameras e.g. Black Magic Production Camera 4K
3) Stills cameras e.g. Nikon/Canon/Fuji/Sony/Pentax with electronic shutter
4) Video Cameras

LIGHT SOURCE

This is really super important. There are a few ways you can go as mentioned above in the sensor section.
One important consideration is that the spectral response curves of your light source attach the spectral response of the sensor/camera you choose.
Otherwise you will not be capturing the full range of colour that is on the film.
Another consideration is heat, you don't want to damage the film, so either use LED light sources, or halogen with a 'hot mirror' (e.g.) https://www.edmundoptics.com/f/hot-mirrors/11665/
Also, you want the light source as diffuse as possible, this minimises the scratches showing up on the sensor. A truly diffuse light source can be nearly as good as a wet-gate in removing scratches on the base of the film.
The most diffuse light comes from an integrating sphere, you can build your own via 3D printing or using holy styrofoam spheres that you buy from a hobby shop.
You can also use a diffusion filter, holographic ones are the best (e.g. https://www.edmundoptics.com/p/25mm-diam...-kit/8212/) but ground glass or 'opal glass' filters also work well.

Intermittent vs Constant Light

INTERMITTENT LIGHT:
If you are going with LED, you can either keep the LED on all the time, or only turn it on when you want to capture an image. This is known as 'Flash-Scanning'.
The advantage of flashing the light source is that you don't need big heatsinks for the LEDs as they are only on for a fraction of a second at a time. You can also use the duration of the flash to control the exposure, negating the need for a shutter. You can also flash the Red, Green and Blue LEDs separately if using a mono sensor.

CONSTANT LIGHT:
You want to drive the LEDs with a constant current, so that the light does not flicker. The best white LEDs for film work come from Yuji https://store.yujiintl.com/collections/frontpage

I will add more to this section later.

LENS
This is just as important as the sensor. The lens needs to be flat corner to corner and free of chromatic aberration. Working distance (how close the lens needs to be to the film) is also a consideration.
The best lens for this work is a Nikon 105mm printing lens. These are hard to find, and often sell for around $2000.
Next best is the Schneider/Componon-S 50mm enlarger lens, it can be found for under $100 sometimes on ebay, but requires the lens to get very close to the film, which can be a problem if using a projector as your film transport. The 80mm or longer lens lets you get a bigger distance from the film, but they aren't quite as sharp.
I will put some other lens recommendations here.

STORAGE.

This is a real issue. Storing a 2hr feature at uncompressed 4K,  in deep colour, with infrared damage matte take around 21TB of hard disk space.
Storing in something lossy like ProRes 4444 takes up considerably less space, you can fit a feature onto a single 4TB HDD.

If capturing realtime via USB3, you will need very, very fast storage, either a SATA SSD RAID or a fast NVME SSD, and a PC that is fast enough to keep up with processing.

Capturing to a BMD camera or other camera a frame at a time, you can use the internal camera storage, and then transfer to a PC once it is full.

FILM GATE
Dry vs Wetgate.
Keeping the film flat

FRAME SENSING:
Sprocket detection
Hall Effect Sensor on shutter mechanism


TRANSPORT
Film Tension
Rewinding
Sprocket vs Capstan

CLEANING
Physically cleaning the film makes a huge difference. Isopropyl alcohol (98% pure or better) is safe and works reasonably well. Perc works better but is dangerous (can be sourced from dry cleaners) , there are newer cleaners available from 3M that are safe.
Filmguard is not good for cleaning, but can be applied during scanning using a Kelmar style film cleaner. This can work effectively as an alternative to wet-gate as the film-guard fills in the scratches and has a similar refractive index to film.



That is all for this morning, I just wanted to get this started so I don't keep putting it off, consider this post a skeleton that I will continue to fill in when I get time.
Feel free to post questions and suggestions in the thread.

When I'm viewing this forum on my iPad in landscape mode (1024px width), it loads the mobile version of the site. So everything looks huge!

Is it possible to change the breakpoint so it only loads the mobile view on maybe devices which are smaller than 768px perhaps?

I am looking to get a particular movie that is available in these country's iTunes, and not available in the US and a few other countries that I've tested with (such as the UK for instance). If you have an iTunes account in one of these countries and could help me obtain content from it, I'd appreciate it (I'd obviously would pay for it).

If you're willing to help but not in Italy or Germany, please also ask, and I'll check to see if the movie is available there.

TIA