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[Canceled] Mission Impossible Ghost Protocol (IMAX Recreation)
#91
Exactly. Only compromise I made as far as Open Matte (although it wasn't fully Open Matte, slightly cropped at the sides compared with the 2.35:1 which had more on the sides) is just before the Russian Prison scene where the camera zooms in on the cellphone showing the picture of the assassin otherwise the blended transition from this scene to Prison scene (which is fully 2.35.1) would of been compromised (I also preferred the 2.35:1 composition with more on the sides). Only compromise I made in regards to 2.35:1 is where the camera zooms in on the Burj Khalifi window where I went with the cropped shot from the WEB-DL, again maybe PDB could help suggest a slightly later point, closer to where his frame expanded version opened up to true Open Matte and I will make the necessary change. There are also a couple of places within the 1.85:1 sections where there are full 2.35:1 scenes and I have included them in place of the cropped 1.85:1 as you can see from my VideoRedo timings further back in this thread. As said previously this is as untouched in the video department as possibly can be (outside of the smart rendered edit points) and so will need to stay within an mkv container otherwise it will have stutter.
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#92
OT: Mission Impossible: Fallout -> open matte? https://imgur.com/a/1n7s9
Fundamental collection thread | Vimeo channel | My personal blog
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#93
Yea, saw them images on another site, just hope this time they release a Bluray with all these IMAX scenes included to save the hassle of having to wait for HDTV and WEB-DL to do it ourselves.
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#94
The whole series is coming in 4K it is rumored and now foreign release dates are appearing online.

Fingers crossed on a proper 4K M:I with the untouched theatrical audio!
Damn Fool Idealistic Crusader
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#95
Yea, looking forward to 1 finally having a decent transfer, doubt GP will get the IMAX scenes though.
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#96
Why not? Star Trek Into Darkness did, and it was both Paramount and J.J. Abrams, two notable strikes against a film's chances of having the IMAX aspect ratio preserved even slightly.
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#97
The bluray didn't, so doubt it will be any different for the 4K, no worries though, I can live with my hybrid once the duplicate subs are removed along with working out the best spot to place the transition during the burg window scene and getting it all in sync with the bluray sound.
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#98
Have now created expanding frame's in Premiere (using for the first time and thanks to zoidberg for the key frames tip) for both Credit sequence and Burg window.

Credit Sequence:

As explained previously I have used the 2.35:1 upto the point of the fuse been lit (The Open Matte crops the bottom of this as well as quite a bit on the sides and gaining only unnecessary head room) and it going up vertical, at the point it switches to go horizontal I used the Open Matte cropped with an expanding frame for 24 frames (1 second). The Open Matte is framed substantially above the bluray here but thankfully the jump upwards isn't noticeable due to the sparks of the fuse (I tried bringing the 2.35:1 framing of the bluray down to match the Open Matte but it looked stupid with a tiny black bar below and massive one above). In regards to this I am curious to know how this sequence was handled on its theatrical IMAX showings, never got around to seeing on the big screen, did it also use expanding frame.

Burg Window Sequence:

Unlike PDB (who based on what I saw in his youtube clip used the open matte for the entire sequence), I have used the 2.35:1 ratio for the entire time upto the point of the very first true Open Matte frame, PDB explained earlier he used this point and worked back 126 frames in the Open Matte for the start of his expanding frame, I have done the opposite and used the 2.35.1 completely upto that point, losing a little top and bottom for part of the sequence but gaining quite a bit both left and right, better composition and a good compromise in my eyes. I had to move the widescreen frame up a little bit (from the window frame onwards to the first truly Open Matte shot) thereby leaving slightly uneven black bars but again a compromise as the Open Matte is framed slightly above center in that sequence and wanted it to all match and fit nicely at the transition. I then expanded the frame for 64 frames (three seconds) to full Open Matte just as the camera pans up the building's below and Tom Cruise begins to exit and turn to attach his glove to the window, Came out excellent. I know its not as per the theatrical experience where the frame opened as he walked to the window but as PDB said would only work correctly by having the unmasked 4:3 print and uncropped sides and using zoom as well as expanding frame as per the IMAX featurette. I actually prefer my compromise for the home theater experience.

Now all is left is for someone to help me remove the duplicate German Title subs from both the credit sequence and Dubia location (either supplying the clips or giving me an idiot's full rundown of masking them myself in Premiere) if PDB doesn't manage to get around to it (who has already kindly offered his help) due to been busy on other projects.

Await comments on above from those interested.
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#99
I think I mentioned a similar thing before, but with the fuse being lit, have you tried moving the Open Mattte up (that's right, up) and putting the Blu Ray underneath so as to still have a full Open Matte shot, just slightly reframed? (you would need to zoom in the Blu Ray a little because of the Open Matte's cropping at the sides). If you feel like cutting out that part of the Blu Ray losslessly (you know how to do that already), I could try my best to make a sample to show you what I mean. I already have the Open Matte on my disc.
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The Open Matte in that fuse scene prior to the credits is not true Open Matte, it is very badly cropped at the sides and looks ugly and glad I found a way to use the 2.35:1 in place of it personally (felt the same about the Burg window Open Matte scene and again was glad I found a way to use the 2.35:1 until it goes fully Open Matte, love those expanding frames in Premiere), only thing you gain is a small amount of useless head space. Much prefer what I have done (trust me) with the expanding frame after the fuse is lit as the credits start with full Open Matte and the huge shift upward (Bluray is framed near to bottom of the Open Matte) is virtually unnoticeable (a non issue) due to the sparks. Due to this framing the bluray can be used to overlay the duplicate title sub as it covers very near to the bottom of the frame of the Open Matte so need someone who is good with Auto Align to just do that part for me if I supply the necessary edited source clips as well as the masking of the Dubia duplication location sub. Can you suggest anyone.

Once that is done everything will be finished.

I will be doing a very high bitrate re-encode (as close to the maximum average bitrate and full bitrate as bluray will allow although I will be leaving it in mkv for the forced subs) directly in the joiner so it will not stutter within a bluray structure and this means it will be 100% in sync with the bluray sound (custom DTS-HD MA 7.1 from the True-Hd track), subs and chapters (which I have added the names to). I will also be doing an untouched as possible mkv (outside of the smart render and expanding frame scenes).
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