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  Restoration tips: PaNup™
Posted by: spoRv - 2015-01-04, 04:11 PM - Forum: Restoration guides - Replies (59)

PaNup™ - PAL and NTSC upscaled

This technique should be used to obtain a good quality upscale, when two different standard definition video are available, better than using one source only.

The idea is simple: take two captures of the same content, one PAL, one NTSC, then merge them to “squeeze” every bit of details from it… everyone knows that a PAL capture has 576 horizontal lines, while NTSC has 480… now, when a movie was transferred to video, usually original resolution was higher than that (not all the times, but often); so, the PAL and NTSC “received” different lines of image… see the next image (obviously intentionally exagerated…):

[Image: hd_pal_ntsc.png]

As you can see, the red, green and blue lines have different thickness in PAL and NTSC; the aim of this technique is to combine those different lines to recreate an image closer to the original one.

To test my theory, I took some high definition images, resized each dimension to 1/3 to simulate NTSC, and to 2/5 to simulate PAL, then I wrote a script to mix and upscale the simulated PAL and NTSC images. Here you are the close-ups of the results; PAL and NTSC are the simulated images upscaled with pointresize, PALup and NTSCup are upscaled using a bicubicresize, to simulate a simple upscaler, PaNup™is my script (oh, how much I love acronyms – PaNup™=PAL and NTSC upscaled) – no noise reduction is used:

[Image: SANY0005_closeup.png]
[Image: HDTV1_closeup.png]
[Image: Men_Funny_Constructicons_Eating_Crash_Test_Dummi.png]

Of course, the validity of this tests are questionable, as the PAL and NTSC images are simulated; nevertheless, these give an idea of what could be achieved using “simple and poor” low definition media, like VHS or better laserdisc, and DVD too! Not HDTV, OK, but still quite a good result.

The problem is, in real life, it’s close to impossible to find a movie which has a PAL and NTSC version that match each other 100% – usually they use different masters, so cropping and color grading are different… but, in those almost-impossilbe cases where a PAL and a NTSC laserdisc (and VHS) are virtually the same, the ideal condition is to capture the PAL at 768×576 and the NTSC at 640×480 (actual letterbox images at 2.35:1 will be 768×326 and 640×272, at 1.85 will be 768×416 and 640×346); if the capture card could capture at 720×576/480, only the Y axis will benefit – this is also the case of DVD.

***

I tested PaNup using “The Abyss” PAL DVD letterbox, and NTSC R6 DVD, anamorphic; overlaid at 40% PAL and 60% R6 (as it has more resolution); applied at the end a grain plate
http://screenshotcomparison.com/comparison/61161

Another example: Aliens Vs Predator: Requiem
http://screenshotcomparison.com/comparison/63368

Star Wars - A New Hope 1997 (adding Super Resolution):
http://screenshotcomparison.com/comparison/125558
(more comparisons on post #18)

It could be an interesting technique to restore movies that are not available in HD, but only as PAL and NTSC DVDs – or letterbox and anamorphic DVDs, OR, just missing shots not present in HD, but only on PAL and NTSC DVDs... or, if someone would like to make a fan extended edition, this could be used to improve the quality of SD deleted scenes!

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  Restoration tips: Kush Gauge™
Posted by: spoRv - 2015-01-04, 03:56 PM - Forum: Restoration guides - No Replies

KUSH GAUGE

What is the Kush Gauge™?

It’s a rule of thumb to calculate the needed bitrate for H.264 encoded video; it was written by Kush Amerasinghe, a computer scientist. In this context, the word “gauge” means “a device used to make measurements

How does it work?

Quoting Kush’s document:
to estimate the optimal H.264 bit rate value that would give what is considered “good quality” results for a given video, you could multiply the target pixel count by the frame rate; then multiply the result by a factor of 1, 2 or 4, depending on its motion rank; and then multiply that result by 0.07 (the constant, Ed.) to get the bit rate in bps (divide that by 1,000 to get a kbps estimate or by 1,000,000 to get a Mbps estimate).

The Kush Gauge™ formula:

width x height x FPS x motion rank x constant = final bitrate in bps

Practical example:

1280 × 720 @24fps, medium motion (rank 2):
1280 × 720 × 24 × 2 × 0.07 = 3,096,576 bps = ~ 3000 kbps

What is the motion rank?

The amount of motion could be called “motion rank”; from Kush’s document:
As a general rule, try to simplify it into three ranks: Low, Medium, High. To define these ranks in real-world terms:
• Low motion is a video that has minimal movement. For example, a person talking in front of a camera without moving much while the camera itself and the background is not moving at all.
• Medium motion would be some degree of movement, but in a more predictable and orderly manner, which means some relatively slow camera and subject movements, but not many scene changes or cuts or sudden snap camera movements or zooms where the entire picture changes into something completely different instantaneously.
• High motion would be something like the most challenging action movie trailer, where not only the movements are fast and unpredictable but the scenes also change very rapidly.

the motion rank values are as following:

  • 1 for low motion (e.g. news)
  • 2 for medium motion (e.g. movie)
  • 4 for high motion (e.g. sport)
Note: I think that for action movies a motion rank of 3 could be a good value to use.

What’s about the constant:

from Kush’s document:
I sought to develop a base number … (that) can produce real-world bit-rate estimates. After numerous experiments, I noticed a certain pattern of what could be considered a “constant” or base value (for most commonly used video frame-size and frame-rate ranges). When rounded off, that value is 0.07 bps per pixel, per frame, per motion rank value.



Reference (PDF documents): H.264 FOR THE REST OF US (page 21)



IMPORTANT! Updates here: Restoration tips: Andrea’s Corollary to the Kush Gauge™

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  Restoration tips: Andrea’s Corollary to the Kush Gauge™
Posted by: spoRv - 2015-01-04, 03:44 PM - Forum: Restoration guides - No Replies

prologue: DON’T (always) TRUST COMPANIES!

Following many HDTV and internet broadcaster advice, a “studio quality” transmission for an H.264 1080p transmission could be achieved with a bitrate of a mere 6mbps; if we use the Kush Gauge formula, we can see that this is true only if the motion factor is lower than average… for example, a 16/9 sport material at 29.97fps needs a 17.4mbps bitrate!


The Kush Gauge™ formula:

width x height x FPS x motion rank x constant = final bitrate in bps


(where constant is 0.07 for H.264/MPEG-4 part 10, or AVC)

Read more here: Restoration tips: Kush Gauge™

ANDREA’S COROLLARY TO THE KUSH GAUGE

To calculate video bitrate for a codec different from H.264, the Kush Gauge costant value should be changed accordingly to the codec used.


Other lossy video codecs (apart H.264/MPEG-4 part 10, or AVC)

Even if AVC is widely used, also thanks to the x.264 open source encoder, there are many other codecs still in use nowadays; the main ones are:

  • MPEG-2 – used in many DTV and HDTV broadcasting, in DVD and sometimes in BD
  • VC-1 – used sometimes in BD; once used in HD-DVD
  • H.265, or HEVC – new codec, used in particular for 4K/UHD
There are also many other ones – H.263 (divx/xvid), MPEG-1 (VCD), WMV9 – that are slowly replaced by newer (or better) ones; so, let’s focus on the main three alternative codecs to AVC.

VC-1

Quality is really similar to AVC; but it has some technical features missing or worst than AVC; the constant will therefore be set at 0.075 - sligthly worse than AVC.

HEVC

New codec, still in development; few serious comparisons were made, and it seems that bitrate gain could vary from 35% to over 70%; based on past studies, it could be difficult to believe that; if an AVC encoded video had a bitrate factor of 100, HEVC could achieve the same video quality at 30… so, to be fair, I’ll put it at 60 – 40% gain – so the constant will be set for the moment at 0.042; this is obviously a value that will change in time, whenever more deep comparisons will be conducted, and newer encoders will be developed.

MPEG-2

This is the most known and valid alternative to AVC; widely used aroud the globe thanks mostly to DVD and DVB, it will be used for many years to come.
And it’s the most difficult to rate in comparison to AVC… According to many, AVC have the same quality of MPEG-2 at half the bitrate; so, if MPEG-2 bitrate factor is 100, AVC should be 50 – setting the constant at 0.14.
Is it true? Well, probably in many cases it could be, but there are so many variables that plays against or in favour of this, that a simple, unique value is difficult to set at the moment.
Comparison papers state that average AVC bitrate gain is around 55.4%; this value is mainly calculated using PSNR as main video quality valutation. But it’s known now that modern video codecs (including MPEG-2) rely on the fact that human vision could be “tricked” more easily than measurement; therefore, this value should not be taken as an absolute truth; infact, following test results that used SSIM, when MPEG-2 and AVC have the same subjective quality, AVC gain is lower.
Some HDTV stations claims that their MPEG-2 1080i broadcasting have a perfect quality at 6/8mpbs; obviously it’s not true; even if in some cases this bitrate is more than enough – news, weather reports, soap operas, studio transmissions – it is not the case for movies, or worst for sport!
In their defense, there were great improvements in the latest years in MPEG-2 encoders, gaining more than 30% in bitrate Vs. the first encoders; plus, some technique “borrowed” from the H.264 format helped to achieve extraordinary results – in comparison to old MPEG-2 encoders, of course.
Speaking about software encoders, these is not always true; despite the fact that there were improvements, they were not so outstanding as hardware encoders of broadcast level…
So, at the end, I think it’s fair to set the constant for MPEG-2 at 0.136 - considering AVC bitrate gain between 40 and 55%: this constant could be lowered to 0.116 – setting the AVC gain at 40% – only for evaluating existing encoded material that was produced with industry level hardware encoders, like DVD, BD or HDTV material, as it’s a matter of fact that those kind of encoders work better than available software ones that we could use at home.

FINAL NOTES:

As the Kush Gauge is a “rule of thumb” and not a law, of course also these constants are approximate; nevertheless, this rule should be used with the most part of video sources, but must still be used with a grain of salt!


ANDREA’S COROLLARY TO THE KUSH GAUGE™

To calculate video bitrate for a codec different from H.264, the Kush Gauge costant value should be changed accordingly to the codec used.

To obtain a good quality video, this is the formula:

width x height x FPS x motion rank x constant = final bitrate in bps

where the constant should be equal or higher* than
  • 0.045 for HEVC
  • 0.075 for VC-1
  • 0.136 for MPEG-2 (software encoders)
  • 0.116 for MPEG-2 (hardware encoders)
*CBR or VBR average bitrate

and the motion rank is equal to
  • 1 for low motion (e.g. news)
  • 2 for medium motion (e.g. movie)
  • 4 for high motion (e.g. sport)
Note: I think that for action movies a motion rank of 3 could be a good value to use.


CHECKING QUALITY OF A GIVEN VIDEO MPEG-2 ENCODED SOURCE:

HD-NET is known to have a fairly good quality; let’s take “Escape from New York”: its actual resolution is 1920×804, FPS is 29.97fps and motion factor could be set at 2, so:
1920 x 804 x 29.97 x 2 x 0.116 = 10,733,268 = ~10.73mbps
or, according to higher constant value,
1920 x 804 x 29.97 x 2 x 0.136 = 12,583,832 = ~12.58mbps
as its bitrate is 17.2mbps, its quality could be considered very good!

***

Also WOWOW, a japanese HDTV station, has a good quality; “Indiana Jones and the Temple of Doom” has an actual resolution of 1920×816, FPS is 23.976fps and motion factor could be set at 2, so:
1920 x 816 x 23.976 x 2 x 0.116 = 8,714,773 = ~8.71mbps
or, according to higher constant value,
1920 x 816 x 23.976 x 2 x 0.136 = 10,217,320 = ~10.22mbps
as its bitrate is 19.9mbps, its quality could be considered really high!

***

“Matrix Reloaded” is a movie full of action; so a motion factor of 4 is considered – even if probably a 3 should be quite good.
NTSC DVD:
720 x 480 x 29.97 x 4 x 0.136 = 5,634,551 = ~5.63mbps
average bitrate is 6.34mbps, so its quality is good.
PAL DVD:
720 x 576 x 25 x 4 x 0.136 = 5,640,192 = ~5.64mbps
average bitrate is 6.5mbps, so its quality is slightly better than the NTSC DVD.

Comments, improvements, corrections are welcome!



References:


PDF documents
The Kush Gauge – H.264 FOR THE REST OF US (page 21)
SUBJECTIVE QUALITY ASSESSMENT OF THE EMERGING AVC/H.264 VIDEO CODING STANDARD
EBU Technical Report 008 – HDTV Contribution Codecs
Using AVC/H.264 and H.265 expertise to boost MPEG-2 efficiency
BBC Guidelines – Technical and Delivery Standards for Worldwide
Comparison of the Coding Efficiency of Video Coding Standards

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  Restoration tips: the Slice Technique™
Posted by: spoRv - 2015-01-04, 02:22 PM - Forum: Restoration guides - Replies (1)

THE SLICE TECHNIQUE™

What’s about this so-called “Slice Technique™”?
In few words: achieve the widest (highest) image possible adding a “slice” of another video clip.

Be more specific…
Well, sometimes there are two editions of the same movie, where one has more image on one side, while less on the other side, and vice versa. So I thought to use the missing “slice” of one joined together with all the other, to obtain the widest image possible. Indeed, it could be only (e.g.) 3% wider than any each version, but I much prefer a 100% wide image Vs a “mere” 97%… (^^,)
Of course, it’s quite difficult – sometimes impossible – to use this technique with every movie, because what must be taken in account are the dimensions (eventual image rotation, width and heigth of sources and chosen slice, eventual resizing and cropping, exact point of matching), colors (both versions should have the same color grading, or one should color match the other), video quality (grain, resolution/definition, different compression used in the sources, frame whobbling in a version not present in the other – in particular at the beginning and ending of a shot), etc.
In these examples, I used a vertical slice and two sources, but it’s possible to use an horizontal slice, or even multiple slices from various sources – obviously, in this case, a good result will be astonishingly difficult…
Hint: best results are from two versions with same resolution – like 2 Blu-rays, 2 DVDs, 1 Blu-ray and 1 HDTV.

EXAMPLE:

[Image: slice_technique_1.png]

“Escape from New York” examples (attention: only preliminary tests, not used for final project)
comparison screenshots:
[Image: EFNY_test_201311190111_000001.jpg]
[Image: EFNY_test_201311190111_000143.jpg]
[Image: EFNY_test_201311190111_000774.jpg]
[Image: EFNY_test_201311190111_001152.jpg]
[Image: EFNY_test_201311190111_001747.jpg]
[Image: EFNY_test_201311222331_000156.jpg]
[Image: EFNY_test_201311222331_000333.jpg]
[Image: EFNY_test_201311222331_000451.jpg]
[Image: EFNY_test_201311222331_000816.jpg]

It looks like there’s more image at the bottom in some shots on the XXX Vs. YYY. It is possible to adjust that too?
It is not possible to use it, as the small “slice” on the bottom of the YYY is missing… like the following example:
[Image: slice_technique_2.png]
see the missing piece at the bottom right? Unless there is some method to “invent” the missing piece using surrounding images… and I’m afraid, there is not (yet)! EDIT: if the corner is small enough, inpaint could be used; result may vary from quite noticeable to perfect, depending on source and size.

How about using XXX as the main source and just adjusting the colors, instead of using the YYY?
It depends… if XXX color matched with YYY as color reference is better, then use XXX; if not, then use YYY – I must add that sometimes the best solution is to use XXX for some scenes and YYY for others… your mileage can vary!
Comments, improvements, corrections are welcome!

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  Restoration tips: Overlap matching
Posted by: spoRv - 2015-01-04, 02:00 PM - Forum: Restoration guides - Replies (14)

OVERLAP MATCHING

What is the Overlap matching?

When two images of different sizes are used to improve the final result.

Could you be more specific?

Usually this is used when two different versions of the same movie are available at different aspect ratios.

Let’s say you want to restore a movie that is not available in high definition, and you want to upscale a DVD or a laserdisc capture. If you are lucky, an anamorphic DVD is available, so a theoretical 720×576 (PAL) or 720×480 (NTSC) max resolution could be achievable. But, if the original aspect ratio of the movie is 2.35:1, then you have only 720×432 (PAL) or 720×360 (NTSC). Well, enough resolution left to do a decent upscale. However, if the DVD is not anamorphically enhanced, actual resolution drops to 720×324 (PAL) or 720×252 (NTSC).

But what if the only (or the best) available low definition sources are analog? In this case, a 2.35:1 original resolution in laserdisc could be at maximum 576×324 (PAL) or 576×262 (NTSC), while VHS could be 328×324 (PAL) or 328×262 (NTSC)… pretty poor…

So, how it’s possible to improve the quality of such low resolution sources? It’s easy! Overlap a pan&scan version of the same movie over the letterbox version! The P&S version of a laserdisc could be 576×576 (PAL) or 576×480 (NTSC), while VHS could be 328×576 (PAL) or 328×480 (NTSC). Can you see the differences?

EXAMPLE:
[Image: overlap_technique_1.png]
here you can see how a P&S version overlapped to a letterbox version, upscaled, have a better resolution than the latter; this will lead to better details in the center of the image, leaving less detailed image at the borders. It is also possible to use two letterboxed versions (like 1.66:1 and 2.35:1) – even if difference in details will be less than using a P&S version, it nevertheless improve definition a lot.
A lower difference in aspect ratios between sources makes the final resolution only slightly better, but often this avoids all the image cropping and variations that lie in the pan&scan version.

Can I use an open matte version instead of pan& scan?

It is often futile to use an open matte version with a letterboxed version both from the same format, as active image have the same effective vertical resolution; however, it is possible to use an open matte version of an higher resolution source overlapped to a lower resolution source.
So, for example, an open matte DVD (with higher horizontal resolution) overlapped to a letterbox laserdisc; or an open matte laserdisc or DVD (both with higher horizontal resolution) overlapped to a letterboxed VHS, will increase the details clarity of the final upscaled version.

What about high definition formats, like Blu-ray and HDTV sources?

in some rare cases, the open matte version of the same (or comparable) format of the letterbox version has a better resolution – due to several factors like different masters, encoding, bitrates etc. – in such cases, it’s possible to use the Overlap matching method, although usually with lower quality improvement in comparison to previous cases.

NOTE: consider that pan&scan cropping vary usually everytime between shots, and often during a single shot; so this method is really really hard to follow, much more than the “Slice technique”

Top, upscaled DVD, bottom, upscaled DVD with HDTV overlapped:
[Image: matrix_083217.jpg]
http://s27.postimg.cc/fwskn8q8x/matrix_083217.jpg

same image as the previous second one, not cropped:
[Image: matrix_PLUS.jpg]
http://s22.postimg.cc/3ucfmeuj3/matrix_PLUS.jpg

WARNING: this is a very difficult technique, and could be really hard and time consuming to find out the perfect settings; I did this simple match in an hour, and both previous and next shots have completely different setting… be aware!
Comments, improvements, corrections are welcome!

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  Restoration tips: Axis-Aligned Polygon Aspect Ratio™ (a.k.a. UAR™)
Posted by: spoRv - 2015-01-04, 01:42 PM - Forum: Restoration guides - Replies (39)

AXIS-ALIGNED POLYGON ASPECT RATIO™
What is the Axis-Aligned Polygon Aspect Ratio™ (or AAP-AR)?
It is an unconventional aspect ratio to represent a motion picture, using sources taken from different media, in an axis-aligned polygon enclosed inside a conventional aspect ratio screen.
How does it work?
If a motion picture is displayed in a screen with a different aspect ratio than the original – e.g. a film on tv, a 4:3 show on a 16:9 tv – there are different methods to do it. Of course, if the aspect ratio of both screens are the same, nothing will (should) be done, and the motion picture will be displayed “as is”.
Letterbox
[Image: killbill03.jpg]
https://s12.postimg.cc/f5fvl19t9/killbill03.jpg
Display A/R: 1.78:1 (or 16:9) < Source A/R: 2.35:1
If the display A/R value is lower than the source A/R, black bars will be added on top and bottom sides of the picture.
This method preserves the whole image AND the original intended aspect ratio.

Pillarbox
[Image: Regular_SD.jpg]
https://s12.postimg.cc/717rgane5/Regular_SD.jpg

Display A/R: 1.78:1 (or 16:9) > Source A/R: 1.33:1 (or 4:3)
If the display A/R value is higher than the source A/R, black bars will be added on the left and right sides of the picture.
This method preserves the whole image AND the original intended aspect ratio.

Pan & Scan
[Image: sw_scope1_33.jpg]
https://s11.postimg.cc/tt6k76v43/sw_scope1_33.jpg

Display A/R: 1.33:1 (or 4:3) < Source A/R: 2.35:1
If the display A/R value is lower than the source A/R, the only way to avoid black bars is to choose the most important part of the actual shot, and discard the rest.
This method does NOT preserve the whole image NOR the intended aspect ratio – as you can see in the bottom picture…
[Image: sw_scope2_35.jpg]
https://s11.postimg.cc/732u0gmir/sw_scope2_35.jpg

Open Matte (or Full Screen)
[Image: Open_Matte_Rob.png]
https://s12.postimg.cc/jz483mvot/Open_Matte_Rob.png
Display A/R: 1.33:1 (or 4:3) < Source A/R: 1.85:1

[Image: se7enframing.jpg]
https://s13.postimg.cc/ij36nv51j/se7enframing.jpg
Display A/R: 1.33:1 (or 4:3) < Source A/R: 2.35:1

If the display A/R value is lower than the source intended A/R, but a full frame version exists, is it possible to show the whole picture to “fill” the screen.
This method preserves the whole image BUT NOT the original intended aspect ratio.
Sometimes the full frame version is not available in the consumer market, but only at production level; with it, it could be possible for example to produce several versions with different aspect ratios; if someone would like to see as much picture as possible, there are two possibilities:

  1. Obtain the original full frame version – if still exist, and is possible to obtain it
  2. Make a “patchwork” using different versions that exist in the consumer market.
This is the aim of the Axis-Aligned Polygon Aspect Ratio™ (or AAP-AR).

Theoretical examples

“Ideal” AAP-AR – both versions fill the horizontal and vertical space:
[Image: Axis_Aligned_Polygon_Aspect_Ratio_0.png]
https://s15.postimg.cc/olxgq3mm3/Axis_Al...atio_0.png

More real example – one source fills the vertical space, while the other leaves black space on the left and right sides:
[Image: Axis_Aligned_Polygon_Aspect_Ratio_1.png]
https://s15.postimg.cc/v0whmrtbv/Axis_Al...atio_1.png

Here one source fill the horizontal space, and the other leaves black space on top and bottom of the image:
[Image: Axis_Aligned_Polygon_Aspect_Ratio_2.png]
https://s15.postimg.cc/74tcuzltn/Axis_Al...atio_2.png

Wrong application of the AAP-AR method; all four sides have black spaces, while only one axis should have them:
[Image: Axis_Aligned_Polygon_Aspect_Ratio_3.png]
https://s15.postimg.cc/nv4qkbk8r/Axis_Al...atio_3.png

Practical examples:

[Image: aspectratioeq.jpg]
https://s13.postimg.cc/fl1mgf807/aspectratioeq.jpg

[Image: bigjacket.jpg]
https://s13.postimg.cc/u6x8ieu6f/bigjacket.jpg

[Image: 21519.jpg]
https://s13.postimg.cc/3yhifakp3/21519.jpg

[Image: 05450.jpg]
https://s28.postimg.cc/d4hoz2u7x/05450.jpg

[Image: Rescuers2b.jpg]
https://s13.postimg.cc/bialhcdvr/Rescuers2b.jpg

[Image: armchair_comp_jpg.jpg]
https://s13.postimg.cc/p31dggton/armchair_comp_jpg.jpg

[Image: deep_focus_cave_comp_jpg.jpg]
https://s13.postimg.cc/44v7idttz/deep_fo...mp_jpg.jpg

[Image: Live_Hi_Res_Boxes.jpg]
https://s13.postimg.cc/4dss8b6mf/Live_Hi_Res_Boxes.jpg

[Image: Seinfeld_HD_vs_SD_framing_compared.jpg]
https://s13.postimg.cc/ci0wd1t1j/Seinfel...mpared.jpg

[Image: 58872423.jpg]
https://s13.postimg.cc/55vg7iatj/58872423.jpg

[Image: matrix_PLUS.jpg]
https://s22.postimg.cc/83h5okxsf/matrix_PLUS.jpg

It is possible to obtain an AAP-AR using not only two, but also three different sources!
[Image: bourne_identity_02c.jpg]
https://s13.postimg.cc/r8voayx53/bourne_...ty_02c.jpg

[Image: bourne_identity_01b.jpg]
https://s13.postimg.cc/xchu8mcsn/bourne_...ty_01b.jpg

(all images are 640 pixel wide only to be visually uniform, but some have the wrong AAP-AR)

Conclusion

This is only a tentative method; the only real examples are found as images on the net; as far as I know, no fan project using AAP-AR is existence, probably because the aspect ratio of each source is not fixed, but variable, and it will be really hard to adjust a whole movie scene by scene or shot by shot or, in the worst cases, frame by frame! Of course, colored thin lines will not appear in the final version of the AAP-AR version… (-^,)

If someone knows any project using AAP-AR – released or in progress – please post more info here.
Further reading: The Slice Technique

A “good reason” to use this technique:
http://www.avsforum.com/forum/34-hdtv-pr...ost3926009
if you have any other “good reasons” like these (-^,) post them here!

EDIT: actual example of AAP-AR using three sources (project still in progress)
[Image: The_Matrix_AAPAR_trisource_BD_grading.jpg]

EDIT: From now on (end of February 2018), I'll stick with the UAR acronym instead AAP-AR (but it's just the same thing, of course), because it's shorter and easier to remember - and don't ask me what the "U" stands for, still have to decide about it! Big Grin

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  [No Longer Available] Alien Regrade (Fox THX Laserdisc)
Posted by: PDB - 2015-01-04, 05:14 AM - Forum: Released - Replies (262)

[Image: 6e9c51760b7d3cca0463488650b3aaa7.jpg]

Well starting out, here is the project I began on the OT a long, long time ago (to quote a movie). The original thread is here: http://originaltrilogy.com/forum/topic.c...pic/17002/

Project Info:

The basis of this project is to color regrade the Blu-ray (BD) to look more like the 1995 THX laserdisc (LD) and include as many diverse soundtracks as possible.

Video:
2010 Blu-Ray (Theatrical Cut) video color regraded to the 1995 THX laserdisc

Audio:
1. 1995 Laserdisc Dolby Digital 5.1. This soundtrack is a rare 70mm mix that was used to test Alien in the Sensurround format before it was abandoned for conventional Dolby Stereo 70mm (track 2). This soundtrack was accidentally put on the 1995 laserdisc when it was thought it was the standard Dolby 70mm mix. It contains different sound effects, musical cues and dialogue.

2. 2010 Blu-Ray (Theatrical Cut) Dolby Digital 4.1 remixed to Dolby Digital 5.1 with mono surrounds. This soundtrack represents the original Dolby Stereo mix as heard in theaters on a 70mm film presentation.

3. 1992 Laserdisc PCM 2.0 Dolby Stereo/Surround. This soundtrack should be the closest to the original Dolby Stereo mix as heard in theaters on 35mm film.

Subtitles:
English (PGS subs from the existing BR)
Spanish
French
German

Pics:

Final MKV Pics
[Image: 48TUt88.jpg]

BD/BD regraded to the 1995 LD
[Image: alien_comp.jpg]

Thanks
jonno: For another capture of the laserdisc and for the CE LD's PCM 2.0 (And his knowledge)
spoRv: For the THX LD's Ac3 5.1
Doombot: For testing
Feallan: For testing

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  Restoration, Preservation, Fan Edit – definitions
Posted by: spoRv - 2015-01-04, 03:37 AM - Forum: Announcements - Replies (3)

Definition of fan restoration categories:

1) Fan Restoration


Attempts to restore a film version, that had a full retail BROAD digital release*, to be as closest as possible to its original theatrical release, using best sources available.

This may include video taken from commercial releases, or TV broadcasts, and may consist of one or several of the following works: color regrading, frames/scenes replacing, aspect ratio correction, removal of scratches, tears, spots and dust, sounds/dialogs replacing/correction, entire soundtracks replacing etc.

It could also include restoring theatrical or director’s cut where the BROAD digital release* includes only the extended edition, or viceversa.


2) Fan Preservation

A fan-made release of a film version that has never had a full retail BROAD digital release*.

This is sourced from analog formats such as VHS, laserdisc or film print, but sometimes they can be sourced from captured TV broadcasts (both analog and digital) or NICHE digital releases**.

2b) Fan Enhanced Preservation


The same as fan preservation, but with some sort of enhancement (noise reduction, conversion from letterbox to anamorphic) not as extensive as a restoration.

2c) Fan Restored Preservation

The same as fan preservation, but with extensive enhancement, the same level of a fan restoration – the only difference is the fact that the film has not a BROAD digital release* (yet)

3) Fan Recreation
The most meticolous kind of restoration; it attempts to restore a film version closest to its original theatrical release, using various video sources (also different from the film itself like trailers, documentaries, and even other films), applying every kind of restoration work, and more, to obtain the best restoration ever possible.

For example, where a restoration will use a one-for-all technique for the whole movie, the reconstruction will use the best technique for each scene or eventually single frames.

4) Fan Extended Edition

It adds additional scenes where they fit, to have a new extended edition not available on BROAD digital release*.

If the additions require a few movie alterations for plot reasons, it still counts as an extended edition, for example if an alternate ending replaces the original one.

4b) Fan Restored Extended Edition

The same as fan extended edition, but the restoration is applied to the main features and extended scenes as well.

5) Fan reMux

A multiplexing of video and/or audio and/or subtitles taken from analog and/or digital releases, to obtain the best version possible.

This involves NO restoration at all, just a selection of the best/correct/alternative audio/video/subtitles streams from different sources.

6) Fan Edit

A fan-made alternative version for an existing film, made by the insertion, deletion or re-ordering of scenes within the film, or taken from different films, or a fusion of different films/TV episodes in a coherent version.

7) Workprints and Bootlegs

Low quality cams/telecines/television/VHS captures of alternative workprint versions or lost theatrical cuts.

8) Filmumentary™

"A format where the viewer can watch a film whilst additional material appears on screen including: deleted scenes, alternate takes, on set audio, text facts and information, audio commentary from cast and crew etc. The intention is to draw these resources from archival and contemporary interviews, documentaries, tv spots etc. to make the ultimate “making of” experience for the viewer." (Jamie Benning, http://filmumentaries.com)

9) Fan bonus disc

A collection of extras, like trailers, interviews, deleted scenes, storyboards etc. not available in a disc of its own; so the extra material, if from bonus BD or DVD, should be from different discs, or if just from one bonus BD or DVD it should have some material from another source like VHS, LD, web etc. in a consistent number; one fan bonus disc made using all the material from a retail bonus disc plus just one trailer from the web could be NOT considered a fan bonus disc...

10) Fan Mod

Modified version of a film; could include one of more of the following:
  • aspect ratio different from theater release - like open matte, full screen, UAR, hybrid, VAR etc
  • modified color grading - with incomplete reference like trailer or film cells, or custom
  • modified audio track - using elements from music soundtrack

10b) Fan Mod Edit

The same as before, but adding extended/deleted scenes and shots, even from trailers, documentaries etc.

* BROAD digital release = DVD, BD, digital download
** NICHE digital release = VCD, HD-DVD, D-VHS, UMD…


These are only initial guidelines, but could be a good start to look at when deciding how to categorize your project.

NOTE: it is always nice to state which kind of project you are working on, listing what you are doing!

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  [request] Cube 2: Hypercube (now in the 'In Progress' subforum)
Posted by: jedeitor - 2015-01-03, 10:20 PM - Forum: Requests, proposals, help - Replies (44)

NOTICE: Finally the project jumps to the 'In Progress' subforum here: http://fanres.com/showthread.php?tid=96

You can still check this post for information about the process, but any advances will be posted there. Smile




Well, somebody had to start, so let it be me.

I love this movie, as it mixes the original Cube with time travel, parallel realities and all that sci-fi stuff I like.

Surprinsingly it hasn't been released anywhere on blu-ray that I know of, while the others have their release (Cube Zero is at least in Germany).

I have a 1080i HDTV mkv from the SilverHD channel which unfortunately displays a huge semi-transparent logo, as you can see in the picture below.

[Image: vlcsnap-2015-01-03-21h18m02s41_zps57a2e831.jpg]

So, anyone has a better source or is interested in this movie at all?

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  FanRes.com first impressions - feedback wanted
Posted by: spoRv - 2015-01-03, 09:44 PM - Forum: Everything else... - Replies (18)

Hi folks, what do you think of the site? Do you like the name? fanres stands mainly for fan restoration, but res could be also used for resolution, and some other words... http://www.scrabblefinder.com/starts-with/res/

What about the overall look? I know it's the usual, classic theme, but after I tested a lot (and I mean it!) everyone had some problem... so, should I continue to search for a better theme, or it's good as is? Of course, I could always change the color, which one do you prefer?
Logo: do you like it?

Thanks for the feedbacks!

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