Sources: Return.of.the.Jedi.4K83.2160p.35mm.x265.10bit.SDR.v2.0-SMPTE Audio FR: Return of the Jedi 1983 23976FPS 1983 GOUT VFI.dts Sous-titres: Project Threepio General Unique ID : 128603646565738873859364105972101591946 (0x60C02950B690F49F047B562C5DE2B38A) Complete name : Star.Wars.VI.Return.Of.The.Jedi.GOUT.1983.4K83.v2.0.MULTi.2160p.10bits.SDR.35mm.DTS.HDMA.x265-TyrellCorp.mkv Format : Matroska Format version : Version 4 File size : 59.3 GiB Duration : 2 h 12 min Overall bit rate mode : Variable Overall bit rate : 64.0 Mb/s Frame rate : 23.976 FPS Movie name : Return of the Jedi (1983) - 1983 35mm Eastman Print 4K83 v2.0 Encoded date : 2023-04-19 11:30:57 UTC Writing application : mkvmerge v53.0.0 ('Fool's Gold') 64-bit Writing library : libebml v1.4.1 + libmatroska v1.6.2 Video ID : 1 Format : HEVC Format/Info : High Efficiency Video Coding Format profile : Main 10@L5.1@High Codec ID : V_MPEGH/ISO/HEVC Duration : 2 h 12 min Bit rate : 55.5 Mb/s Width : 3 840 pixels Height : 2 160 pixels Display aspect ratio : 16:9 Frame rate mode : Constant Frame rate : 23.976 (24000/1001) FPS Color space : YUV Chroma subsampling : 4:2:0 Bit depth : 10 bits Bits/(Pixel*Frame) : 0.279 Stream size : 51.4 GiB (87%) Writing library : x265 3.5+98-753305aff:[macOS][clang 14.0.0][64 bit] 10bit Encoding settings : cpuid=2 / frame-threads=3 / wpp / no-pmode / no-pme / no-psnr / no-ssim / log-level=2 / input-csp=1 / input-res=3840x2160 / interlace=0 / total-frames=0 / level-idc=51 / high-tier=1 / uhd-bd=0 / ref=4 / no-allow-non-conformance / no-repeat-headers / annexb / no-aud / no-eob / no-eos / no-hrd / info / hash=0 / temporal-layers=0 / open-gop / min-keyint=23 / keyint=250 / gop-lookahead=0 / bframes=8 / b-adapt=2 / b-pyramid / bframe-bias=0 / rc-lookahead=40 / lookahead-slices=4 / scenecut=40 / no-hist-scenecut / radl=0 / no-splice / no-intra-refresh / ctu=64 / min-cu-size=8 / rect / no-amp / max-tu-size=32 / tu-inter-depth=1 / tu-intra-depth=1 / limit-tu=0 / rdoq-level=2 / dynamic-rd=0.00 / no-ssim-rd / signhide / no-tskip / nr-intra=0 / nr-inter=0 / no-constrained-intra / strong-intra-smoothing / max-merge=3 / limit-refs=3 / limit-modes / me=3 / subme=3 / merange=57 / temporal-mvp / no-frame-dup / no-hme / weightp / no-weightb / no-analyze-src-pics / deblock=0:0 / no-sao / no-sao-non-deblock / rd=4 / selective-sao=0 / no-early-skip / rskip / no-fast-intra / no-tskip-fast / no-cu-lossless / no-b-intra / no-splitrd-skip / rdpenalty=0 / psy-rd=2.00 / psy-rdoq=1.00 / no-rd-refine / no-lossless / cbqpoffs=0 / crqpoffs=0 / rc=crf / crf=18.5 / qcomp=0.60 / qpstep=4 / stats-write=0 / stats-read=2 / cplxblur=20.0 / qblur=0.5 / vbv-maxrate=120000 / vbv-bufsize=120000 / vbv-init=0.9 / min-vbv-fullness=50.0 / max-vbv-fullness=80.0 / crf-max=0.0 / crf-min=0.0 / ipratio=1.40 / pbratio=1.30 / aq-mode=2 / aq-strength=1.00 / cutree / zone-count=0 / no-strict-cbr / qg-size=32 / no-rc-grain / qpmax=69 / qpmin=0 / no-const-vbv / sar=1 / overscan=0 / videoformat=5 / range=0 / colorprim=1 / transfer=1 / colormatrix=1 / chromaloc=0 / display-window=0 / cll=0,0 / min-luma=0 / max-luma=1023 / log2-max-poc-lsb=8 / vui-timing-info / vui-hrd-info / slices=1 / no-opt-qp-pps / no-opt-ref-list-length-pps / no-multi-pass-opt-rps / scenecut-bias=0.05 / no-opt-cu-delta-qp / no-aq-motion / no-hdr10 / no-hdr10-opt / no-dhdr10-opt / no-idr-recovery-sei / analysis-reuse-level=0 / analysis-save-reuse-level=0 / analysis-load-reuse-level=0 / scale-factor=0 / refine-intra=0 / refine-inter=0 / refine-mv=1 / refine-ctu-distortion=0 / no-limit-sao / ctu-info=0 / no-lowpass-dct / refine-analysis-type=0 / copy-pic=1 / max-ausize-factor=1.0 / no-dynamic-refine / no-single-sei / no-hevc-aq / no-svt / no-field / qp-adaptation-range=1.00 / scenecut-aware-qp=0conformance-window-offsets / right=0 / bottom=0 / decoder-max-rate=0 / no-vbv-live-multi-pass / no-mcstf / no-sbrc Language : English Default : Yes Forced : No Color range : Limited Color primaries : BT.709 Transfer characteristics : BT.709 Matrix coefficients : BT.709 Audio #1 ID : 2 Format : PCM Format settings : Little / Signed Codec ID : A_PCM/INT/LIT Duration : 2 h 11 min Bit rate mode : Constant Bit rate : 1 536 kb/s Channel(s) : 2 channels Sampling rate : 48.0 kHz Frame rate : 32.000 FPS (1500 SPF) Bit depth : 16 bits Stream size : 1.41 GiB (2%) Title : FR PCM 2.0 VFI (1993 LaserDisc THX Mix) Language : French Default : No Forced : No Audio #2 ID : 3 Format : DTS XLL Format/Info : Digital Theater Systems Commercial name : DTS-HD Master Audio Codec ID : A_DTS Duration : 2 h 11 min Bit rate mode : Variable Bit rate : 3 886 kb/s Channel(s) : 6 channels Channel layout : C L R Ls Rs LFE Sampling rate : 48.0 kHz Frame rate : 93.750 FPS (512 SPF) Bit depth : 24 bits Compression mode : Lossless Stream size : 3.57 GiB (6%) Title : EN DTS-HD MA 5.1 (1983 70mm Mix - 2018) Language : English Default : No Forced : No Audio #3 ID : 4 Format : DTS XLL Format/Info : Digital Theater Systems Commercial name : DTS-HD Master Audio Codec ID : A_DTS Duration : 2 h 11 min Bit rate mode : Variable Bit rate : 2 161 kb/s Channel(s) : 2 channels Sampling rate : 48.0 kHz Frame rate : 93.750 FPS (512 SPF) Bit depth : 24 bits Compression mode : Lossless Stream size : 1.99 GiB (3%) Title : EN DTS-HD MA 2.0 (1983 35mm Optical Audio) Language : English Default : No Forced : No Audio #4 ID : 5 Format : AC-3 Format/Info : Audio Coding 3 Commercial name : Dolby Digital Format settings : Dolby Surround Codec ID : A_AC3 Duration : 2 h 11 min Bit rate mode : Constant Bit rate : 384 kb/s Channel(s) : 2 channels Channel layout : L R Sampling rate : 48.0 kHz Frame rate : 31.250 FPS (1536 SPF) Compression mode : Lossy Stream size : 362 MiB (1%) Title : EN AC3 2.0 (1993 LaserDisc Audio - 2018) Language : English Service kind : Complete Main Default : No Forced : No Audio #5 ID : 6 Format : AC-3 Format/Info : Audio Coding 3 Commercial name : Dolby Digital Codec ID : A_AC3 Duration : 2 h 11 min Bit rate mode : Constant Bit rate : 384 kb/s Channel(s) : 3 channels Channel layout : L R C Sampling rate : 48.0 kHz Frame rate : 31.250 FPS (1536 SPF) Compression mode : Lossy Stream size : 362 MiB (1%) Title : EN AC3 3.0 (1993 LaserDisc Commentary - 2018) Language : English Service kind : Complete Main Default : No Forced : No Audio #6 ID : 7 Format : AC-3 Format/Info : Audio Coding 3 Commercial name : Dolby Digital Codec ID : A_AC3 Duration : 2 h 11 min Bit rate mode : Constant Bit rate : 224 kb/s Channel(s) : 2 channels Channel layout : L R Sampling rate : 48.0 kHz Frame rate : 31.250 FPS (1536 SPF) Compression mode : Lossy Stream size : 211 MiB (0%) Title : AC3 2.0 Soundtrack Language : English Service kind : Complete Main Default : No Forced : No Text #1 ID : 8 Format : UTF-8 Codec ID : S_TEXT/UTF8 Codec ID/Info : UTF-8 Plain Text Duration : 31 min 33 s Bit rate : 6 b/s Frame rate : 0.020 FPS Count of elements : 37 Stream size : 1.50 KiB (0%) Title : FR Forcés SRT Language : French Default : No Forced : Yes Text #2 ID : 9 Format : UTF-8 Codec ID : S_TEXT/UTF8 Codec ID/Info : UTF-8 Plain Text Duration : 2 h 3 min Bit rate : 36 b/s Frame rate : 0.131 FPS Count of elements : 967 Stream size : 33.1 KiB (0%) Title : FR Complets SRT Language : French Default : No Forced : No Text #3 ID : 10 Format : UTF-8 Codec ID : S_TEXT/UTF8 Codec ID/Info : UTF-8 Plain Text Duration : 2 h 0 min Bit rate : 37 b/s Frame rate : 0.131 FPS Count of elements : 949 Stream size : 33.5 KiB (0%) Title : EN Full SRT Language : English Default : No Forced : No Menu 00:00:00.000 : Opening Logos 00:00:21.100 : Return of the Jedi 00:01:55.360 : Vader's Unexpected Visit 00:05:01.010 : Arrival at Jabba's Palace 00:08:11.030 : A Message and a Gift 00:12:22.790 : The Max Rebo Band 00:13:56.040 : The Price for Chewbacca 00:17:07.570 : Free from the Carbonite 00:21:41.680 : Enter the Jedi 00:24:39.850 : "Oh No! The Rancor!" 00:29:08.960 : On the Sail Barge 00:30:44.920 : The Sarlacc Pit 00:36:58.420 : The Emperor Arrives 00:38:46.700 : Yoda's Twilight 00:44:31.710 : A Certain Point of View 00:47:37.560 : Rebel Briefing 00:50:50.000 : Lending the Falcon 00:52:46.290 : The Emperor's Instructions 00:53:38.840 : Flying Casual 00:56:08.990 : Arrival on Endor 00:57:57.600 : Speeder Bike Chase 01:01:55.330 : Leia Meets Wicket 01:05:33.060 : Vader's Report 01:07:01.310 : An Ewok Trap 01:11:14.730 : The Golden God 01:15:06.800 : Campfire Stories 01:17:28.600 : Brother and Sister 01:21:44.860 : Luke Surrenders 01:25:20.580 : Rebel Recon 01:26:05.790 : The Alliance Fleet 01:27:04.850 : Back Door 01:29:18.480 : Luke and the Emperor 01:32:32.840 : "It's a Trap!" 01:35:55.210 : Ewok Attack 01:39:39.030 : Fully Operational 01:41:36.990 : The Battle Rages 01:43:41.610 : The Dark Side Beckons 01:44:40.700 : The Ewoks Turn the Tide 01:47:56.200 : Father vs. Son 01:49:54.480 : Taking the Bunker 01:50:50.870 : A Jedi's Fury 01:53:50.880 : The Shield is Down 01:54:22.250 : Force Lightning 01:55:11.300 : Vader's Redemption 01:56:53.930 : Into the Death Star 01:58:48.010 : Anakin Unmasked 02:01:12.650 : Death Star Destroyed 02:04:04.360 : Funeral Pyre 02:04:40.860 : Celebration 02:06:28.800 : End Credits 02:11:40.000 : 4K83 End Credits ******************************************************************************* Return of the Jedi 35mm Film Restoration ******************************************************************************* -------------------------------------------------------------------------------- 444444444 KKKKKKKKK KKKKKKK 888888888 333333333333333 4::::::::4 K:::::::K K:::::K 88:::::::::88 3:::::::::::::::33 4:::::::::4 K:::::::K K:::::K 88:::::::::::::88 3::::::33333::::::3 4::::44::::4 K:::::::K K::::::K8::::::88888::::::83333333 3:::::3 4::::4 4::::4 KK::::::K K:::::KKK8:::::8 8:::::8 3:::::3 4::::4 4::::4 K:::::K K:::::K 8:::::8 8:::::8 3:::::3 4::::4 4::::4 K::::::K:::::K 8:::::88888:::::8 33333333:::::3 4::::444444::::444 K:::::::::::K 8:::::::::::::8 3:::::::::::3 4::::::::::::::::4 K:::::::::::K 8:::::88888:::::8 33333333:::::3 4444444444:::::444 K::::::K:::::K 8:::::8 8:::::8 3:::::3 4::::4 K:::::K K:::::K 8:::::8 8:::::8 3:::::3 4::::4 KK::::::K K:::::KKK8:::::8 8:::::8 3:::::3 4::::4 K:::::::K K::::::K8::::::88888::::::83333333 3:::::3 44::::::44K:::::::K K:::::K 88:::::::::::::88 3::::::33333::::::3 4::::::::4K:::::::K K:::::K 88:::::::::88 3:::::::::::::::33 4444444444KKKKKKKKK KKKKKKK 888888888 333333333333333 ------------------------------------------------------------------------------- Release Notes ------------------------------------------------------------------------------- v2.0 - A complete redo. This version is a complete redo of the project. Nothing is reused from v1.x except the audio. This version is one colour correction across all seven reels with one small deviation during the Sarlacc scene. This preserves the film as a whole. Read below. The reason to redo it is because the previous versions have issues that can't be fixed. The main problem goes back to how v1.0 was created. The raw capture was in cinemaDNG format. What I didn't know at the time was it's in a different colour space than what I was working in. I manually changed colour space to RGB instead of doing a proper colour space conversion. This caused issues. Also at the time, becasue of the colour space issue and my limited experience, I couldn't figure out one red fade correction that worked across all seven reels so each reel was corrected individually. In v2.0 I do a proper colour space conversion first. I then did a single colour correction across all seven reels. The Sarlacc scene lacked contrast and saturation so I altered the saturation in the highlights giving the sky more blue which improved the image greatly. Only the highlights of the scene were altered from that single film grade. By using a single colour correction I am preserving the film as a whole. This limits my "creative license" and restricts the grade to keep it more inline with how it would have been in 1983. There is no definitive grade to use as a reference as every official version is different so I tried to find the best balance I could. The cleanup is less refined than the previous versions. In v1.x I cleaned all dirt I saw. In v2.0 I am preserving the dirt that is in the original negative. This dirt you would have seen in the theatre in 1983. It's a more authentic experience this way. The dirt is only really present in the optical FX shots. Non FX shots are about as clean as the previous versions. This version preserves the ugly glue stains that are in the print and would have been seen in the theatres in 1983. Glue stains are at some edit points. In regards to stabilization, I have not used warp stabilizer in any shots and nothing is "locked" so there should be some amount of gate weave in every shot. In most shots it's minimal and wont distract from the viewing experience. The first audio track is the RAW audio captured from this 35mm print without any post processing. This preserves the audio as it would have been heard in the theatre compete with audio dropouts as they would have been heard then. It's a more authentic experience. No DNR or sharpening has been applied. The RAW capture has some chroma noise from the camera used. It has not been removed. The chroma noise is only noticeable if you zoom into the image anyway so it should not be seen during normal viewing. All this should provide a more authentic 1983 viewing and listening experience which was the intention of the original project. ------------------------------------------------------------------------------- The main project is being rendered at 1080p and 2160p (SDR). This version is cropped as it would have been seen in the theatre. The SMPTE crop is the official crop and at 2.39:1. I am also rendering a Full Frame version as I did for v1.1. This shows the entire 35mm film frame. This shows the parts of the frame you were never ment to see. This version is a bit distracting to watch and only recommended for "film nerds". You will see more of the glue stains and other issues around the frame that are always cropped off. Full Frame version is 2K (2048x1080). This would allow someone to crop the image and still have approximately 1080p resolution left over. ------------------------------------------------------------------------------- Info from previous versions that still applies. 99.9% of all frames used in this project are sourced from one original 1983 35mm Eastman print. The remaining 175 frames were sourced from an alternate 35mm print. All frames were scanned, cleaned, stabilized, and color corrected in 4k (anamorphic) from 35mm prints. The primary print used is NOT a release print but a special screening print struck directly from the original film negative in 1983. It is presented with it's original film grain intact which is two generations less than what a theatrical release print would have and only one generation from the original negative. This project is not GOUT-synced. The GOUT version of this film is missing two frames that were seen in theatres. This project presents those two original theatrical frames for film and historical accuracy. Muxing in alternate GOUT synced audio to this project will slightly alter the audio sync by two frames. Most people won't notice a two frame shift in audio sync. The two extra frames are located at time 00:47:41. ------------------------------------------------------------------------------- NOTICE ------------------------------------------------------------------------------- This film is a restoration seeking to preserve an orphaned work of our cultural heritage. We do not condone video piracy. Before watching this video you are expected to own at least one official version of Return of the Jedi as released by the studio. Examples include VHS, Betamax, Laserdisc, CED, DVD, or BluRay. If we could buy this version of Return of the Jedi on an official 4K BluRay, we would do so. Today. If you bought this version on eBay, you were scammed and should report the seller. This material is intended for personal use only and the public exhibition, sale, distribution, or broadcast of this material is prohibited by law, until the copyright expires, at which time the work enters the public domain. Until then, Return of the Jedi remains TM & © Lucasfilm Ltd. (LFL) 1983 All Rights Reserved. ------------------------------------------------------------------------------- May The Force Be With You ------------------------------------------------------------------------------- Jan 23, 2023 Presenting 4K83 v2.0. The final v2.0 has been released. Version 2.0 is a complete redo from scratch. Nothing is reused from v1.x other than the audio tracks. This version is graded as one single grade across all seven reels preserving the film as a whole. Read below for more info. Why v2.0? The short answer is I don't like any of the previous versions and I wanted to create something more authentic to 1983. This includes preserving some of the imperfections of the original film. Colour... Every previous version has colour issues. Some scenes/reels in some versions look good but none of them are consistently "right" throughout. On their own they may look fine but you notice issues more when you compare them all to each other. The problems can be traced back to how the v1 project began. What I didn't know originally was how to properly deal with the raw files. The film was captured on a Black Magic camera in cinemaDNG format. I assumed that telling Resolve to use the file metadata was enough. That's not so and I didn't know any better at the time. The cinemaDNG files are encoded in a different colour space than what I was working in. They needed to be converted to RGB first. Resolve 18 manual says... "This is important, because two clips that contain the same RGB value for a given pixel may in actuality be representing different colors at that pixel, depending on the color space that was originally associated with each captured clip." To convert the colour space you have three options... "you need to normalize clips using Blackmagic Design Film by using Resolve Color Management (RCM), by making a manual adjustment to color and contrast, or by applying a LUT" In v1 I did the second "manual" option which proves difficult because of pixels possibly being seen as a different colour than intended, as mentioned above. Here in v2 I'm doing the first option now by setting Resolve to "Resolve Color Management" mode. Setting this makes a big difference in how it looks. It's still faded red of course like the print is but much more saturated and easier to work with. williarob mentioned to me that using Resolve Color Management can sometimes add some green to the image but I can correct for that. The other important thing here is v2.0 is graded as one single colour correction across all seven reels without any deviations. It is not based on any previous version. The three replacement shots in reel 2 (175 frames) are corrected to match the shots they replace. This preserves the film as a whole and how the shots interrelate to each other. Doing it this way makes it difficult to find that one balance across all seven reels, grading from the red faded state it was in. It also limits my "artistic license" which is a good thing. I tried to grade it as it would have been but also make it look as good as I could at the same time within the limits of a single grade. When I did v1 I couldn't figure out a single red correction that worked across all reels, mainly because I was in the wrong colour space but also my skills were limited back then. I've learned a lot since then. Beta 1 is still a work in progress but it's almost there. My grading approach in v2 was to make the grade as organic as possible to the print which means no colour replacement or other digital trickery. Every shot is graded with the same settings without exception. The colour correction was done in Resolve using it's great tools. No difference LUTS. No other tools. To see a tutorial on how I did my beta 1 and 2 colour correction see here. HDR... I do plan on releasing an HDR grade. I haven't done anything with it yet as I want to get the SDR grade nailed down first. Colour Depth... The raw capture is in cinemaDNG format at 12bit. When I did v1 I did a red fade correction on a reel to reel basis first (without a proper colour space conversion) and then rendered out to 10bit dpx files. The restoration was done at 10bit from thereafter. That resulted in some colour loss early on but 10bit was easier to manage. I didn't work in 12bit because some tools don't like 12bit. 16bit make for large files and slower to work with which is why I didn't do 16bit at the time. In v2 I do things very different. After the colour space conversion I am only doing a contrast increase (because there was a lot of unused room at the top). I render from there to openEXR at 16bit float (half precision, piz compression). openEXR is a file format created by Lucasfilm BTW so it's an appropriate format to use here. Being 16bit float it also has the advantage of retaining any out of range data if present. 16bit int tiff or dpx files would just hard clip any out of range data. Using the high bit depth preserves all colour information as scanned and converted, without loss. All restoration is done in openEXR 16bit float. The film is still red at this stage as I haven't applied a red colour fix yet. The higher bit depth is more important here because of the red state it's in and still needing a large correction. The reason I did it this way is because I didn't want to commit to any colour correction before the restoration was done. The master files are still a "blank (red) slate" so to speak. I did a decent looking single colour correction before I rendered anything out but wanted time to work the colour out without having to commit to anything. Dirt... This version won't look as "refined" as the previous versions. This is by choice to preserve some of the imperfections you would have seen in the theatre in 1983. In v1 I cleaned by the "in the shot / on the shot" methodology. This basically removed all dirt since no dirt was by choice of the creators. In v2 I'm cleaning by "in the print / on the print" thought instead choosing to only clean what's on the print and leaving what's in the print. What does that mean? In the print is dirt that was added at any stage of the making of the film. On the print is dirt on this specific print. By only cleaning what's on the print it preserves dirt in the print introduced during optical printing, FX processing or anything else that's original to the film. This 35mm print was pristine, outside of the colour fade. There was very little dirt on the actual print. When you watch this version, non FX shots will be about as clean as v1. Optically printed/FX shots will vary in dirt however. This is dirt you would have seen in the theatre in 1983. You won't see 100% of dirt in the print though. If there was any doubt about some dirts origin then it was cleaned. I wasn't about to compare every dirt spec to other sources. I also cleaned the occasional dirt in the print I found more distracting than preservable like a blotch on a face, etc. You may also notice the odd hair that was in the print and retained for this version. Some shots flicker a bit which they would have originally as well. The first six reels were made in a lab from two lengths of film joined together in the middle. They used tape for that. The tape marks and dirt around it were removed as that's something on the print and not in it. This version keeps the reel change markers. Dirt around them was cleaned though. No auto dirt cleanup has been used, manual only. Stabilization... Stabilization was the most time consuming part of this project and I still have a ways to go. Gate weave is a part of the theatrical experience and embedded into the print. Additional gate weave was also added when this print was captured. I first stabilize to the sprocket holes but they proved inconsistent and unreliable. Within the same frame, holes can move in different directions compared to the image. I then, where needed, use the info within the frame to remove any jitteriness while trying to maintain some of the original gate weave. I did not do any warp stabilization and nothing was "locked" within the frame so there should be some amount of gate weave in every shot. Retaining some gate weave makes the film look more natural for its age and less digitally processed. Some excessive gate weave was reduced to make it less distracting. Stabilizing while still making it look not perfectly stable is hard and requires many attempts. Glue Stains... What are glue stains? When the film was cut and spliced together by the negative cutter the film elements are glued. I guess sometimes too much glue (or bad glue) is used and it can stain the print. Not every edit point has glue stains. Many edits just have an overlap but have no stain at all. When you see stain the last frame of a shot at the bottom will be stained and first frame of the next shot at the top will as well. This is a part of the film and one of the reasons the film is always cropped when shown in theaters. You never see the entire frame of a film in the theatre. The SMPTE version has the glue stains as they were. The selective cropped version however corrects the glue stains (mostly) because you'd see more of them and they'd become more distracting. Upper glue stains were corrected using power windows this time rather than replacing the effected areas. Lower glue stains were not as straight forward to fix though. The “stains” at the top and bottom of some shots are most likely light leakage during the colour timing while optically printing (exposing) this print. They would be on all prints. They may vary a bit as each interpositive may have had different leakage when printed (exposed). They are a part of the theatrical experience. I did not fix any of them. Cropping... The cropping in v1 isn't quite original. It is similar to the original SMPTE crop but each reel is a bit off in alignment and some are off in rotation as well. v1 is 2.35 when the original crop was 2.39. In v2 I am offering two different cropped versions. The first is a SMPTE crop. This is the original theatrical crop of the film. This version is 2.39:1 and cropped as close as possible to how it would have been seen in 1983. The second version is 2.35:1 and a selectively cropped version showing more of the image and adjusting the crop from scene to scene or shot to shot. This is how the BluRay does it. I don't show the entire frame because I'd have to vary the frame hight from shot to shot and it would be distracting. The SMPTE version is one crop across the whole film as it would have been seen in 1983. You may notice a frame edge (black bar) on the side in a few shots. That's how you would have seen it originally. The GOUT also shows a black bar on the side in a few shots. The GOUT is not accurately cropped though. It's cropped more than SMPTE, especially on the left and bottom where it crops more. They may have done that to hide the glue stains more. Audio... I'm including the audio tracks from v1.x of course. This is the only thing reused from v1.x. For a more authentic experience though I'm also including one more option. The first audio track is how you would have heard it in 1983, including dropouts and hard cuts at the reel changes (21 frames inclusively after the reel change). Why 21 frames? The optical audio reader is located 21 frames (inclusively) below the gate. In a typical senario the film reels are joined together before projection to make it easier (and a smoother transition) so when you see the first frame of the next reel you are still hearing audio printed on the previous reel until that "first" frame gets down to the optical reader 21 frames below. If a projectionist was actually switching projectors between each reel the hard cuts would be when they switch and not 21 frames. Dropouts are there because of the way the audio track is printed on the film. The hard cuts are subtle and not very noticeable. No DNR or sharpening has been applied. That means the CMOS chroma noise from the camera is still there but it's small enough that you won't see it unless zoomed in. All this should make for a more authentic viewing experience in time for the 40th anniversary coming up in May. I started this project on Dec. 6th when I read a post in which williarob mentioned colour space issues with the film scans. I then loaded up the 4K78 print and applied the colour space conversion and all the contrast and colour fell into place. The then loaded up the 4K83 print out of curiosity. Now here we are a month and a half later. Beta 1 is still a work in progress but it'll get there. The cleanup is done for v2.0. Some shots still need better stabilization. Colour is still a work in progress but almost there. I would prefer to watch it without the glue stains or FX dirt but I thought I'd preserve them for this version. I need to work on the glue stains for the selectively cropped version. While I do that I'll tweak the color and improve the stabilization. This Beta 1 was encoded from a ProRes 422 HQ copy of the source and not direct from the EXR files. The ProRes is still 12bit+. Final version will be from the EXR master of course. Beta 1 is the SMPTE cropped version as it would have been seen in 1983. I noticed one shot has a framing issue at the bottom. I double checked and it's within the SMPTE anamorphic frame so it should have been seen originally. I left it as is. Audio in this is the RAW print audio.