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Posted: 18 Aug 2013, 04:28 

Ultimate list of Laserdisc titles that are technically and/or content wise significant

Here is the list of Laserdisc titles that are technically unique (i.e. only OAR edition, theatrical audio mix etc.) and do not have any equivalent on any other format. The list also includes Laserdisc titles that have extra content or different cuts of the content that are not available on any other format.

Courtesy of lizardkingjr, there exist two threads for commentaries unique to Laserdisc. Below are the links for those threads.

http://forum.lddb.com/viewtopic.php?f=13&t=81

http://forum.lddb.com/viewtopic.php?f=32&t=82

This list will be updated as more titles are suggested. There will be separate chapters for popular movies such as Star Wars, and The Godfather as these titles have several different editions unique to Laserdisc.
Some Laserdisc titles listed here may exist on DVD or Blu-ray on different markets than the US.

Please Suggest Laserdisc titles that has,
- Different aspect ratio than found on other media i.e. open matte, OAR etc.
- Different audio track i.e. theatrical mix, theatrical soundtrack restored etc.
- Different color timing i.e. director approved color timing, theatrical color timing etc.
- Different cut of the movie i.e. director’s cut, special edition, theatrical cut, unrated cut etc.
- Different extras i.e. commentaries, documentary, interview etc.
- Also titles exist only on Laserdisc.

For none-US releases, please indicate whether they are English friendly or not (i.e. anime, foreign etc.)

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Posted: 18 Aug 2013, 04:29 

Special Chapter:

In this chapter historically significant Laserdiscs are listed. They may be available on other formats but they first appeared on Laserdisc with a signifying technology or mastering method.

Abyss, The: Special Edition (1989) (Uncut) [1988-85] First THX labeled LD. Some earlier test titles exist but this LD is the first one with THX Laserdisc seal.
Bringing Out the Dead (1999) [LV335643-WS] Last LD released in the US(25 days after Sleepy Hollow)
Cell, The (2000) (Uncut) [PILF-2868] Very last English audio LD ever. 109min uncut version exist in R2/NTSC Japanese DVD.
Citizen Kane: Special Edition #1 # (1941) [CC101] Criterion Spine#1 and the very first special edition in home video
Clear and Present Danger (1994) [LV 32463-2WS] Very first AC-3 track on any home video format.
Batman Forever (1995) [NJWSL-13666] First Ac-3 LD in home video
Elton John: In Concert at Edinburgh [74-001] LD exclusive. First Pop music Laserdisc.
Fellini's Casanova (1976) [15-004] Opening credits are letterboxed at 1.77:1, making it the very first widescreen home video title.
Jaws (1975) [12-001] Very first Discovision title.
Jurassic Park (1993) [43115] Very first DTS track on any home video format.
Manhattan (1979) [ML100469] The very first letterboxed Laserdisc(entire movie) CED version is the very first Letterboxed title in home video history.
Schlafes Bruder (1995) [0004] Only SQZ LD with DTS audio(Full feature).
Star Wars: The Phantom Menace (1999) [PILF-2830] Very first Dolby Digital EX (AC-3 5.1 with matrixed rear center)soundtrack on any home video.
Terminator 2: Judgment Day (1991) [PILF-2187] First Squeeze/Anamorphic LD(according to catalog number)
Terminator 2: Judgment Day (1991) [PILF-2555] Only THX Squeeze LD. Last anamorphic title.
Tokyo Raiders (2000) [PILF-2870] Very Last LD pressed ever.

Chapter 1: Star Wars

Earlier CBS/FOX editions(CLV) are very close to theatrical cut. Early "A New Hope" pressings suffer shrinking aspect ratio. Aspect ratio gets wider as film progresses. Later Technidisc pressings are from a different master and free from this defect. they reportedly have less DVNR but has higher cross-talk levels.

Star Wars: A New Hope (FOX) (1977) [1130-85]
Star Wars: The Empire Strikes Back (1980) [1425-85]
Star Wars: Return of the Jedi (1983) [1478-85]

Special Collection(CBS/FOX) Japanese releases are the first widescreen releases. They are in CAV format in correct aspect ratio and has no DNR or EE. Much preferred by purist.

Star Wars: A New Hope (1977) [SF148-1196]
Star Wars: The Empire Strikes Back (1980) [SF148-1242]
Star Wars: Return of the Jedi (1983) [SF148-1343]

Definitive Collection Laserdiscs are also very close to theatrical cut. They are in CAV format, each film is on 3 disc/6sides. Video content is similar to CBS/FOX but some dialog differs from the Definitive set. This collection has extras that are not on DVD/BD. This cut exist on GOUT DVD editions in none-anamorphic(letterboxed) with Dolby Digital 2.0(192kbps) as an extra content. Same D1 master as definitive collection was used. These DVDs are also OOP now.

Star Wars Trilogy: Definitive Collection [0693-84]

Faces editions(CLV) include short interviews at the end that are also unique to these editions. Although mastered from the same D1 master as Definitive Collection, DNR and EE are more apparent on these discs.

Star Wars: A New Hope (1977) [8763-85]
Star Wars: The Empire Strikes Back (1980) [8764-85]
Star Wars: Return of the Jedi (1983) [8765-85]

Special edition set is the 1997 cut which exist only on Laserdisc. 2004 DVD release and 2012 BD releases have newer/altered cuts. Extra content on this set is also unique. Also available on VHS.

Star Wars Trilogy: Special Edition (1997) [4102985]

Special editions were pressed twice in Japan. Second pressing is much newer(11/22/2000) than the US and Japanese version and as similar to picture to US and first Japan pressings. There is a short 11min "Episode II making of" feature which is exclusive to this release.

Star Wars Trilogy: Special Edition (1997) [PILF-2860]

Lucas also altered The Phantom Menace on DVD then BD then again on 3D theatrical release. Laserdisc release is the only theatrical cut along with VHS release. VCDs with this cut exist outside the US.

Star Wars: The Phantom Menace (1999) [PILF-2830]

These below versions are PAL encoded. The first 2 are French Original Trilogy releases in THX/LBX and English audio(French imposed subtitles). The last one is the 1997 special edition in UK PAL version in English audio without subtitles. These versions represent SW Trilogy in highest resolution. PAL LD offers 625(576 visible) line vertical 440 line horizontal resolution opposed to NTSC LD's 525(480 visible) line vertical 425 line horizontal resolution. Lack of a reference quality Laserdisc player with PAL playback capability makes these releases less desirable.

Star Wars: Coffret Trilogie [168035]
Star Wars: La guerre des etoiles (1977) [113037]
Star Wars Trilogy: Special Edition (1997) [EE 1232]

Chapter 2: Godfather

1901-1980 set has all three movies merged together in one cut for TV broadcasting. It is open matte therefor in 1.33:1 aspect ratio.

Godfather Trilogy: 1901-1980 (1992) (Uncut) [LV15147-7]

1901-1959 Epic set is similar to above set but only has the first two movies mixed together. Only available in Japan.

Godfather: The Epic 1901-1959 (1990) [PILF-1147]

Chapter 3: Disney


Beauty and the Beast (1991) [1325 CS] Original Disney aspect ratio of 1.66:1 and correct color timing.
Lady and the Tramp (1955) [14673 AS] Disney made two versions of the movie. 2.35:1 aspect ratio cut is more common and available on DVD/BD. 1.33:1 open matte version is LD exclusive.
Song of the South (1946) [PILF-1096] Disney decided it is politically incorrect and never released on home video on any format in the US.

Below titles are the theatrical cuts. Disney later released these titles on DVD and BD but they are the newer cuts made in early 2000s and slightly different. LD versions have the theatrical soundtrack whereas DVD/BD versions have the newer home video mix.


Aladdin (1992) [1662 CS]
Mulan (1998) [PILA-3026]
Nightmare Before Christmas, The: Special Edition (1993) [2774 CS]
Pocahontas: Special Edition (1995) [6875 CS]
Lion King, The: Deluxe Edition (1994) [4613 CS] Has extra content different than later releases. AC-3 audio track is the theatrical mix.
Toy Story: Deluxe Edition (1995) [8847 CS] Politically incorrect content in extras(Knickknack) later altered on DVD/BD.

Chapter 4: James Cameron and Super 35

Several of James Cameron films are available in "Director's Pan & Scan Edition". These versions have the matted portions removed of the Super 35 film therefore it is possible to see more information on the bottom and top while slightly less on sides. This List will also include other notable "Pan&Scan" editions from different directors.


Abyss, The: Special Edition (1989) (Uncut) [1988-80]
Terminator 2: Judgment Day (1991) [LD68952-2]
Terminator 2: Judgment Day: Special Edition (1991) [82997-2]
True Lies (1994) [8640-80]
Titanic (1997) [LV 334813]

Other notable Super35 films on LD:


Top Gun: Special Collection (1986) [SF120-1480]

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Posted: 18 Aug 2013, 04:29 

Chapter 5: NTSC Land

This section is dedicated for all the rest of the NTSC encoded Laserdisc releases which are significant.


12:01 (Twelve Oh One) (1993) [ID2542LI] DVD is cropped for 1.78:1. OAR is Academy ratio 1.33:1
200 Motels: Frank Zappa (1971) [ML100423] Not on DVD.
Adrenalin: Fear the Rush (1996) [ML 1002] HK LD is OAR. P&S on DVD.
Aftermath: Special Edition (1981) [RGL9623] Not on DVD.
Alamo, The (1960) (Uncut) [ML106354] This is the longest cut(Director's cut).
American Film Institute: Orson Welles (1975) [ID2010WV] All AFI Life achievement titles are LD exclusives.
American Cyborg: Steel Warrior (1994) [32120] Not on DVD/BD.
American Graffiti (1973) [42726] Unaltered theatrical version.
Alien (1979) [8760-85] The theatrical 6-track audio on AC-3 track.
A.P.E.X. (Apex) (1994) [LV20064] Not on DVD in the US.
Apocalypse, The (1996) [ID4115AP] Not on DVD.
Babylon 5: TV Pilot (1993) [NJL-12656] Different cut and music than US DVD and LD.
Babylon 5 #1.1: The Gathering (TV Pilot) (1993) [15647] Original broadcast aspect ratio. Later DVD releases are widescreen but CGI segments are cropped.
Black Mask (1996) (Uncut) [FT-038] Uncut(10mins longer)
Blacksnake: Russ Meyer (1973) [ID3480RM] Not on DVD/BD in the US. UK DVD is OOP.
Best of Roger Rabbit (1996) [5259 CS] uncensored on LD.
Blood and Sand (Sangre y Arena) (1989) (Uncut) [SWLD-3039] Uncut(24mins longer)
Braindead (1992) (Uncut) [PILF-1822] Uncut On LD
Brother from Space (Fratello dello spazio) (1988) [SF050-1553] not on DVD.
Cell, The (2000) (Uncut) [PILF-2868] Uncut(2mins longer) also exist in NTSC/R2 Japanese DVD.
Colossus: The Forbin Project/Silent Running [43128] Forbidden project is LBX on LD only
Cyborg (1989) (Uncut) [TOLE-3070] uncut on Japanese LD.
Cyborg 2 (1993) [PILF-1827] OAR on LD, P&S on DVD. OAR DVD exist in Germany.
Cyborg 3 (1994) [MGLC-94064] OAR on LD, P&S on DVD.
Boot, Das (The Boat) (1981) [PILF-7355] The longest 313 min TV version(no English audio or subtitles)
Dead Poets Society (1989) (Uncut) [7821 AS] 14mins longer TV edit cut
Delusion (1990) [90786] Not on DVD
Devil's Advocate, The (1997) [15090] The sculpture scenes is unaltered. Also has the theatrical soundtrack. Update: First batch of DVDs have the same content.
Dune: Movie + TV (1984) [PILF-7297] The TV cut is P&S. Made for TV broadcasting and it is longer. Later DVD release is widescreen but new footage is cropped.
DTS Experience (1998) [PILW-1258] Japan exclusive DTS LD.
Erik The Viking (1989) [ID7411OR] missing scenes on DVD.
Evil Dead, The (1981) [SF078-5044] OAR version with 1.33:1 and original mono soundtrack.
Fatal Attraction: Directors Series (1987) (Uncut) [LV 12881-2WS] longest cut
Fierce Creatures (1997) [43228] OAR 2.35:1, P&S on DVD.
Greed (1924) [ML101360] not on DVD.
Hawaii (1966) (Uncut) [ML101860] uncut on LD
Heavenly Creatures (1994) [4371 AS] Theatrical cut not on DVD
Innocent Blood (1992) [12570] Correct aspect ratio in cut version. German DVD also exist in uncut version.
It Came from Hollywood (1982) [LV 1421] Not on DVD/BD.
Keep, The (1983) [LV 1563-WS] LD exclusive in the US.
Last of the Mohicans, The (1992) [0896585] Theatrical cut.
Manhunter (1986) (Uncut) [411] Theatrical cut and sound mix.
Matrix, The (1999) [17665] Wachowski brothers later changed the color timing of this title to better match with the sequels green heavy color timing. LD edition is unaltered theatrical color timing.
Moon 44 (1990) [NDH-121] OAR in Japanese LD. OAR DVD exist in Denmark.
Napoleon (1927) [40086] not on DVD/BD.
Necronomicon (1993) [PILF-1951] not on DVD/BD. Also exist in US LD.
Nostradamus (1994) [ID3046OR] Korean DVD available.
Olympia I & II: Leni Riefenstahl's #338 (1938) [CC1489L] Only home version authorized by the director.
One Million Years B.C. (1966) (Uncut) [1995-85] European cut.
Patton: Special Edition (1970) [0414885] The theatrical 6-track audio on AC-3 track.
Ransom (1996) (Uncut) [8295 AS] Extended uncut version.
Ransom (1996) (Uncut) [PILF-2680] Japan exclusive DTS LD with extended uncut version.
Runestone, The (1990) [LD 68953-WS] P&S in Region 2 DVD only
Running Man, The (1987) [PILF-7156] open matte on Japanese LD
Scream: Director's Edition (1996) (Uncut) [14797 AS] Disney acquired Dimension Home Video after this release. Disney by policy will NOT release this title in unrated version(NC-17 cut).
Screamers (1995) [MGLC-97086] The Japanese release is widescreen. Also exist on DVD in widescreen in Europe.
Sidekicks (1992) [53606] Not on DVD.
Slipstream (1989) [SF047-1653] Only widescreen version available.
Strange Days (1995) [0893984] DVD is letterboxed/AC-3. LD is Letterboxed/DTS. BD exist in Germany (region B locked)
Solar Crisis (1990) [LDCVM5683WS] 1:78:1 aspect ratio where as OAR is 2:35:1. DVD version is 1.33:1. No BD as of yet.
Supernaturals, The (1986) [EHL-1095] Not on DVD/BD
Suspiria (1977) [ID6900MN] original soundtrack
Star Trek I: The Motion Picture (1979) (Uncut) [LV 8858-2A] Longer version in TV broadcast aspect ratio. Later DVD is longer but a different cut(also widescreen).
Tekwar: The Original Movie (1994) [41850] not on DVD/BD.
THX 1138 (1971) [11162] Unaltered theatrical cut.
True Lies (1994) [0864084] DVD is letterboxed and AC-3 only. Also exist D-theater tape with 1080i and full-bitrate DTS.
Twilight of the Cockroaches (1987) [LVD9201] Not on DVD
Twin Peaks: Pilot (European Cut) (1989) [NJL-35205] Longer European cut.
Until the End of the World (Bis ans Ende der Welt) (1991) (Uncut) [PILF-7271] Not on US DVD. Only uncut edition(181min) available in home video. Director's Cut(280min) is available on Italian DVD. US LD is 151min.
Vindicator, The (1986) [SF078-5197] Not on R1 DVD.
Wallace & Gromit: Collection [0610680] original soundtrack
Who Framed Roger Rabbit (1988) [940 CS] Famous Jessica Rabbit exposed scene on CAV version.
Wonderful World of The Brothers Grimm, The (1962) [ML102427] not on DVD.
Wyatt Earp: Special Expanded Edition (1994) (Uncut) [13921] longest cut only on LD
Young Indiana Jones Chronicles (1992) (Uncut) [PCLP-00418] Uncut as originally broadcasted.

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Posted: 18 Aug 2013, 04:29 

Chapter 6: Your Best Pal

This section is dedicated for PAL encoded Laserdiscs which are significant.


Conan the Barbarian (1982) [EE 1051] Different shorter cut.
Hard Boiled (1992) (Uncut) [EE 1015] Uncut version which is longer than the Criterion version by 3.5 minutes. It has the usual %4 PAL speed up.
Fortress (1993) (Uncut) [LD 14362] Uncut with 2 extra scenes. Exist in R2 DVD.
Mr. Bean 1 & 2 [VCLD 6354] As close as it gets to the original PAL broadcasts.
Psycho (1960) [PLFGB 36001] Rare German release with English audio. It is UK cut version.
Running Man, The (1987) (Uncut) [NF 24606A-LD] Uncut only on German PAL LD.
Screamers (1995) [EE 1116] In OAR. Also exist in NTSC-J LD and R2 DVD.
The Best of Benny Hill: vol.1 (1982) [90 6203 5] As close as it gets to the original PAL broadcast.
Shining, The (1980) [6107913] Shorter European cut in open matte.

Chapter 7: No More Criterions

Here is the list of titles(by spine numbers) which are no longer released by Criterion Collection.



Citizen Kane: Special Edition #1 # (1941) [CC101]
King Kong: Special Edition #2 # (1933) [CC102]
Third Man, The #5 (1949) [CC1105L] DVD and BD releases are OOP now as well
Swing Time: Special Edition #6 (1936) [CC1106L]
High Noon: Special Edition #7 (1952) [CC1107L]
Invasion of the Body Snatchers: Special Edition #8 (1956) [CC1108L]
Magnificent Ambersons, The: Special Edition #9 (1942) [CC1109L]
Help!: The Beatles: Special Edition #16 (1965) [CC2003L]
Graduate, The: Special Edition #17 (1967) [CC1115L]
It's a Wonderful Life: Special Edition #18 (1946) [CC1112L]
Blade Runner: Special Edition #19 (1982) (Uncut) [CC1120L]
Hard Day's Night, A: The Beatles: Special Edition #20 (1964) [CC1113L]
Mr. Hulot's Holiday: Jacques Tati's #21 (1953) [CC1119L] DVD is OOP
Sabotage: Alfred Hitchcock's #22 (1936) [CC1117L]
Secret Agent: Alfred Hitchcock's #23 (1936) [CC1118L]
Young and Innocent #24 (1937) [CC1116L]
Grand Illusion, The: Special Edition #25 (1937) [CC1114L] DVD is OOP
Asphalt Jungle, The #26 (1950) [CC1126L]
Forbidden Games #30 (1952) [CC1130L] DVD is OOP
Night at the Opera, A: Special Edition #31 (1935) [CC1131L]
Scaramouche: Special Edition #32 (1952) [CC1132L]
Pygmalion #33 (1938) [CC1133L] DVD is OOP
Fellini Satyricon: Special Edition #35 (1969) [CC1135L]
Producers, The #36 (1968) [CC1136L]
Princess Bride, The #40 (1987) [CC1140L]
Show Boat: Special Edition #44 (1936) [CC1144L]
North by Northwest: Special Edition #45 (1959) [CC1145L]



Chapter 8: Music/Concert Exclusives


Andrea Bocelli: A Night in Tuscany (1998) [PHLP-5001] missing tracks on DVD
Anderson, Bruford, Wakeman, Howe: An Evening of Yes Music Plus (1989) [ID3026GI] 3 Extra Tracks on LD
Anderson, Bruford, Wakeman, Howe: An Evening of Yes Music Plus (1989) [VALJ-3395~6] Another unique audio edit
Hard Day's Night, A (1964) [MP 1064D] Original mono mix
The Beatles: Let It Be (1970) [4508-80] Not on DVD/BD.
Elton John: In Concert at Edinburgh [74-001] LD exclusive. First Pop music Laserdisc.
Elton John: In Central Park (1980) (Uncut) [MP026-25DO] not on DVD
King Crimson: Three of a Perfect Pair - Live in Japan (1984) [SM037-3322] bonus track is LD exclusive
King Crimson: Live in Japan (1995) [PCLP-00620] original mix later remixed on DVD release
Prince: Lovesexy Live (1988) [080 844 1] not on DVD.
Rush: A Show of Hands (1989) [080 574-1] original soundtrack later remixed on DVD
Rush: Grace Under Pressure (1985) [080 103-1] original soundtrack later remixed on DVD
Rush: Exit... Stage Left (1981) [791 558-1] original soundtrack later remixed on DVD
Yes: 9012 Live (1985) [VAL-3013] Original Stereo soundtrack in Digital

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Posted: 22 Aug 2013, 20:12 

HI-VISION/MUSE Laserdiscs have been around for decades but only a few dozen people have seen them in action in real life. Since the arrival of my MUSE decoder, my personal home theater setup is one of those privileged systems with this capability. Before I completed my Hi-Vision Setup, I always wondered what MUSE LD looked like. I am sure there is many out there who is as curious as I was. I want to help my fellow lddb.com members. I decided to build a capturing setup so I can transfer MUSE LDs onto Blu-ray disc or similar media. I am not looking to profit from this project nor I am planning to dedicate the rest of my life making copies to everyone. So this will be a limited quantity project only to those who contributed and for now exclusive to lddb.com members. Once I have copies and you get one, you are free to make extra copies for your friends.

Current Status

First test capture is complete (2/5/2016)
Custom Capture PC being built (5/19/2017)


Dropbox link to Jurassic Park HiVision LD capture file

Below is the list of my current setup(only LD related part)

Laserdisc transport/player:
-Pioneer HLD-X0
-Pioneer HLD-X9

Muse decoder:
-Sony MSC-4000

Video Processors:
-Lumagen Radiance Pro 4449
-Lumagen Radiance 2144
-Algolith Mosquito HDMI

Burner/Recorders:
-Pioneer BDR-XD04 external Blu-ray disc burner with BDXL capability(4 layer 100GB discs)
-Toshiba SD-L912A internal HD-DVD disc burner placed inside enclosure to be used as external.

Software:
-Black Magic Design Media Express

Calibration Gear:
-Calman 5 Enthusiast
-SpectraCal C6-HDR
-X-Rite i1 Pro 2 (Enhanced) Spectroradiometer

Custom Capture PC
LG 27UD69P-W 4K Monitor (%99 sRGB)
Intel i7-7700k CPU (Overclocked)
Asus Tuf Z270 Mark 1 Motherboard
MSI/Corsair GeForce GTX 1080 Sea Hawk X GPU (Overclocked)
Corsair Dominator Platinum 4x16GB DDR4 (Overclocked)
Samsung 960Pro M.2 NVME SSD 2x1TB in Raid0 Main Storage
Black Magic Design Intensity Pro 4K PCIe Capture Card

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 Post subject: Re: Laserdisc vs DVD
Posted: 08 Jul 2014, 03:51 

Ld and dvd are both 480i vertical resolution. Dvd has over 500 lines or horizontal resolution and Ld has 425 (theoretical) lines of horizontal resolution.

Dvd has 240 lines of chroma resolution in alternative lines (4:2:0 sampling) that is 4 bit of Cb and Cr (chroma)on every other line where as 8 bit Y (Luma) on all lines.

Ld has 120 lines of chroma at best. Most older pressing (pre-superNTSC) have half of that and 2D comb filters can only retract limited Chroma from the composite signal. So early 1990s releases played through 3D comb filter gets 100+ lines.

Dvd is a digital medium. Its samples of discreet info. Imagine you want to draw a line in digital. In 1000 sampling you draw 1000 dots next to each other. In 100 sampling you draw the same line (same length) with 100 dots. If you draw your line high enough number of dots you might create one straight line without breaks.

Ld is an analog format. Its continuous time. You draw a line scratching your pen on the paper. The quality of the line depends on your pen and the paper. If its a good ball point pen and a fine paper, you will have a beautiful line. Ld can record 7mhz of continuous electrical information pet second for its video.


dvd has about 65db of signal to noise ratio. Ld is 54db on the best machine. Most average player is at around 48-50db.

dvd can be read quiet accurately and the same on most dvd players. If I tell you to draw a 1" line with 100 dots in equal spaces, you can imitate my line easily. If I ask you to draw a 1" line with a pen, your line will look like mine but if you examine closely each line is unique with different strokes. Thats why analog recording and reading differs each time and each equipment.

Dvd is compressed in mpeg-2. It has side effects like banding, pixelation on motion, mosquito noise. Ld is uncompressed and immune of these but separating luma and chroma has its own artifacts .

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Posted: 12 Oct 2014, 19:12 

On these/most players Y/C separation(comb filter) occurs early in the chain right after ADC(analog to digital convertor). Digitized signal is then fed into TBC(time base corrector). Higher quality players have (DVNR)digital video noise reduction available after TBC. Some players have basic on/off type(i.e. CLD-97) and some have more comprehensive settings(i.e. CLD-704,99 etc.) like multi-step luminance and chrominance noise reduction, sharpness etc.. After this, on simpler players right after TBC, on more advance players right after TBC + DVNR the separated signal is combined again(Y+C) for composite output and kept separate for S-Video output.

In theory, if you separate Y and C and later combine with identical filter(in reverse), the output should be equal to the original(no change) regardless 2D or 3D comb filtering as long as they perform same parameters. Keep in mind that these are digital signal processing(signal is already digitized at the comb filter) therefore you can apply a function and then apply the same function in reverse to come back to the original signal without any loss(cant say the same in analog/continuous time). So given this, 3D comb filter setting or any setting should not have any effect in the composite output since the same setting in reverse will be applied at the end to undo what the first filter did.

Now there is a 3rd option only few players employ. All above process is the same however instead of leaving Y and C separate and directly feeding them into S-video output, some players combine the signal anyway and then employ an additional comb filter here for S-video output. For example CLD-704 has a 2D comb filter to do above process and uses the same type filter to combined for composite output. CLD-99 uses this same exact board but adds a second comb filter(this time 3D comb filter) to separate the once combined signal. SO all early processing(TBC, DVNR, sharpness) happens after and 2D comb and combined with 2D comb again then separated by a 3D comb filter at the end. Some argue this is a design flaw however if above paragraph is true, it shouldn't matter. Why did they chose this way? It was probably cheaper to add a 3D comb at the end then re-designing the entire board around a 3D comb design. Pioneer engineers probably deemed the outcome would come out the same anyway(who are we to argue:)

To answer your question,the 3D comb filter setting on my HLD-X0 has tremendous effect on its S-Video output and no effect in composite output. I use the composite output as I think the 3D comb filter in the Crystalio II is slightly better than the one in HLD-X0. I left the setting at 2 because I have its S-Video output hooked up to a capture card. I hope this helps:)

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Posted: 23 Nov 2014, 18:00 

Data 1 is philips cdv400. An opamp buffer at the digital audio out. That's it.

Data 2 is cld-701. No upgrades. Maybe same buffer at the digital out?

Data 3 is cld-704. No upgrades but aes digital output added. Att optical added.

Voyager (version 1) is dvl-919. New power supplies. Seperate supply for audio and video.

Voyager (version 2) is dvl-919. All above plus optional sil503/4 (dvdo) deinterlacing board, optional sdi output.

If you are curious their later dvd players like carmen and david are toshiba a300 clones. Their latest bd players are oppo bdp 83 and 93 clones with audio upgrades.

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Posted: 24 Oct 2015, 03:04 

In this review, I am comparing the US release Slipstream (1989) [ID6764VV] and the Japanese release Slipstream (1989) [SF047-1653]

It is a rather unknown film, so a few words on it first. For the good part, the films stars Mark Hamill(Luke Skywalker y'all), Bill Paxton, Ben Kingsley and F. Murray Abraham. Got interested? I know....but why didn't you hear about this film before? Well.., now the bad part, it is a bad film! It's a cheesy sci-fi from late the 80s but we love that, don't we?

Let's talk some technical stuff. The US version is listed P&S whereas the JPN version is LBX for a 1.78:1 frame. I have a reason to believe they are both framed and masked differently from the original 35mm print. The US version has a little more information on top and bottom but still cropped from sides. I gave up watching the Japanese version after 10 minutes, more on that later. Per imdb, the intended ratio is 1.75:1 so the JPN version is the correct one for the purist but the US version is so well framed, it is my choice.

Now let's evaluate the video. Neither version can be considered good. They are different masters for sure. The Japanese version is orange tinted and the US version is blue tinted. The JPN version has heavy chroma noise. Orange is made up of secondaries which is even weaker on the NTSC signal on LD than other colors. This might be a good reason the JPN version is chroma noisy. Teal/blue is among primaries, although well saturated colors isn't LD's main strength, it suffers far less on primaries. The US version is reasonably well in noise levels for both chroma and luma. You can even see some film grain and texture. This is not a superNTSC master so most colors are dull as usual. To sum it all, if you want the original aspect ratio and orange tint, you will have to put up with heavy chroma noise. If you ask my opinion, I prefer the clean US version, in fact, the blue tint isn't as pronounced as the orange tint on the JPN version. For the record, the JPN disc has Japanese subtitles within partially in picture.

The audio is good, not magnificent but good. The score is well Star Wars'ic, the composer must have been carried away with Mark Hamill's presence. Remember, this film was made only 5 years after the Jedi and Hamill is still fit. It is a Dolby Surround encoded sountrack and rear surrounds are active the entire film. A lot of ambient and orchestral scores filling the room. I think the soundtrack of this film is very enthusiastic and well above average. Both JPN and USA discs have the same soundtrack for the record. They are both consistent with each other.

Neither jacket is interesting. They are both single disc with CLV encode. The JPN disc comes with obi. The US disc has the theatrical poster on the front.

Notes: This film appeared to have been shot in Capadoccia in Turkey. It is a several millennia old natural valley with some of the oldest human settlements traces such as an underground city with many caves. It is said that the local people today speaks Aramaic natively (which Jesus spoke two millennia ago)

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Posted: 10 Dec 2015, 02:10 

I plan to make an official video processors thread soon with pictures(hopefully captures) and explanations. For now, I can talk about the Crystalio II in brief. Most manufacturers gave up on NTSC/PAL decoding chips long ago. The latest and most advance NTSC/PAL decoders are TVP5160 from Texas Instruments(TI) around 2004 and ADV7800 from Analog Devices around 2008. These manufacturers later released system on chips (SoC) geared towards HD/4K video with NTSC/PAL support but they implemented only 2D comb filters on the composite inputs.

Both TVP5160 and ADV7800 are adaptive 3D comb filters with line TBC. Both chips require additional chips and memory to work. TVP5160 in its standard configuration can do 3D comb filter or analog noise reduction, it can't perform both. TVP5160 with 4mb flash memory can do both. Same limitations apply to ADV7800 but I don't know as much detail, it might even be a 2D comb filter in its basic configuration without flash memory. Both decoders need outboard analog to digital converters (ADC). The quality of these ADC used can vastly effect the performance.

Lumagen VisionHDQ, PMS Crystalio II(CII) VPS-3300 and VPS-3800 have the TVP5160 chip (all confirmed). CII has the comb filters registers available to user, you can make a million adjustments.

Lumagen Radiance 2124/44(confirmed), DVDO Iscan EDGE and DUO has the ADV7800 chip. I didn't open up the DVDO units and confirmed myself. I emailed their tech support and they informed me both units have the ADV7800. It is difficult to communicate with the DVDO guys, their answers are very brief and sound unsure. Lumagen on the other hand, I am in contact with the founder/CEO. Lumagen Radiance 2124 units will have the comb filter registers available to user soon via firmware(thanks to me).

480i interlaced film content comes from 24 progressive frames, so film mode de-interlacing aka 3:2 reverse pull down is rather simple process to reconstruct 24 progressive frames from 60 fields(odd or even half of the frame = 240 lines), as long as the cadence remains faithful to 3:2. In simpler explanation, when combined every two fields(out of 60) should make up 1 actual frame it was converted from(out of 24). To relate 24 frames to 60 fields, fields are repeated 3:2(cadence) ratio hence the name 3:2 pull down (i.e. odd, odd, odd, even, even, odd, odd, odd, even so on). Video content on the other hand, comes from 60 unique fields, each field do no match any other. For this, in video mode, each field is literally scaled to full 480 lines from 240 lines. The scaling algorithm differs among chips. If you are scaling stationary scenes, you can combine two subsequent fields but if there is motion, the next field will differ from one before. The chip needs to apply interpolation to avoid jaggies and inconstancies. The most difficult is the diagonal lines in the video. The chip must detect motion and adjust its scaling accordingly. In rare instances, film content loses 3:2 cadence due to film edited lousily(i.e cutting a scene on the first odd field then pasting a scene from the second even field hence creating 1:2 cadence). The video chip must be able to detect this and switch to video mode in case two matching fields do not exist in that cadence. If you watch well mastered film contents then most de-interlacers from 2003 and on will work fine but if you watch a lot of video content such as concerts, sports, music videos then you want a de-interlacer with state of the art video mode. Note: most TV shows are shot on film so film mode de-interlacing is used but CGI and composite effects are done in video. In PAL, 24 frame film is converted 50 frames using 2:2 cadence (odd, odd, even, even) and %4 speed up. Decent reverse pull down isn't possible for PAL due to speed up.

Lumagen VisionHDQ is the oldest. It uses a silicon optix sil504 chip for de-interlacing. Its one of the early generation pixel based motion adaptive de-interlacers. It will lock to 3:2 cadence and perform film mode flawlessly but its video mode is outdated by todays standards. sil504 has a decent cadence detection but Lumagen bypassed it and uses its own cadence detection in its fpga. Lumagen also bypassed its video mode and uses its own video mode on the fpga. These codes were written almost 10 years ago and since this product has been discontinued, expect no more updates. HDQ uses the Lumagen no ringing scaling which is slightly different than the current version but still very good. The latest firmware also added color management system(CMS) where you can dial in to you calibration much more precise. It only has DVI with HDCP output so no audio here.

DVDO EDGE and DUO uses the same ABT2015 SoC which does de-interlacing, scaling, enhancements and color management(DUO only). It is the latest generation from Anchor Bay Technologies(ABT). It's film and video mode are as good as it gets. Cadence detection is second to none. Scaling is the most aggressive which will cause ringing (halos around objects). Its enhancements (EE, DNR) are useless for LD and will result loss in detail. Duo has a CMS which isn't anymore advance than HDQ but it supports auto calibration if you have Calman. They can pass through 3D video (no processing) and lossless audio codecs like Dolby TrueHD and DTS-HD MA.

Crystalio II is the most interesting and enthusiastic. It has two de-interlacer chips. Faroudja Fli2300 and Gennum VXP. You can select which one you want for SD video. Fli2300 is as old as sil504. It's film mode is like any but video mode uses Faroudja patented Diagonal Correlation De-Interlacing (DCDi). It was the best 10 years ago but there is better since then. Gennum VXP in the CII is GF9350 chip. It is the latest generation and on par with the ABT2015 and similar(HQV Realta, Marvel QDEO). It doesn't have a locked film mode (forced to stay in film mode always) but Fli2300 does, probably why CII includes both. Forced film mode is sometimes useful when you know the content comes from film but badly edited(i.e Star Wars JSC disc). It has noise reduction only and I don't recommend it for LD. It has a very complicated CMS. It has other goodies like "pip/pop(two separate any inputs shown on the same screen). It has two HDMI outputs and both can show different inputs. You can watch LD in HDMI out 1 and cable tv in HDMI out 2 thanks to dual de-interlacers. All I/o HDMI are spec 1.1 with HDCP 1.1 so no 3D video or lossless audio. It can pass and process video up to 1080p, Dolby Digital, DTS and PCM no problem. CII has a zillion adjustment in everything.

Lumagen Radiance 2124/44 uses Gennum VXP for video de-interlacing only. It is the revised GF9450 model which adds odd anime cadences (anime can have weird 6:6,7:7, 4:5 etc..) and more enhancements (mosquito noise reduction, edge enhancements). Lumagen uses its own scaling and film mode de-interlacing in its fpga. Scaling is the best there is, causes zero ringing and very fluid. It has the most sophisticated CMS. You can auto calibrate up to 4913 points in the grey scale. It can process 3D video and pass all audio codecs. It has built in Darbee Darblet video enhancement. 2144 model can upscale any input to 4k.

Jumping to CII was the biggest improvement I have seen in LD. If you hook up a couple of different DVDO units and a Faroudja and such onto two separate monitors, you would have to look hard to see small differences. When you watch the same content on CII, the change was drastic. My upgrade reason to Lumagen was the more up to date HDMI on it. To my surprise, it even improved the video a little over the CII. CII is sharper but 2144 has no dot crawl. I could see 3D to 2D changes on motion on CII, I can't notice it on 2144, its really fast. In the end, its a toss up between TVP5160 and ADV7800, you could go with either. The greatest improvement from Lumagen was its no ringing scaling which LD really needs. It's very CRT like picture on my plasma. The new noise reduction on GF9450 chip is better(not perfect still). I used another outboard processor(Algolith Mosquito HDMI) for noise reduction when I had CII in my setup.

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Posted: 22 Sep 2016, 19:22 

(Julien's edits in blue , I believe substance's list is from http://www.dutchaudioclassics.nl/the_complete_d_a_dac_converter_list/ ?)

Model - DAC - Digital Filter - Transport Mechanism

Pioneer

CLD-77 - 1 x PCM56P
CLD-79 - 2 x SAA7350GP - PD0116A
CLD-95 - 2 x AD1862N-P - SM5813AP - VWY1019
CLD-97 - 2 x SAA7350GP - SM5813AP
CLD-98 - 2 x SAA7350GP - SM5813AP
CLD-99S - 2 x PCM56P-J - SM5807EP - VWY1011
CLD-100 - LC7881 - SM5807EP
CLD-D504 - 1 x PD2026B
CLD-600 - 1 x SAA7350
CLD-757 - 2 x SAA7350GP - PD0116A
CLD-D580 - 1 x PD2026B
CLD-900 - 1 x CX20017
CLD-919 - 2 x AD1862N-P - SM5813AP - VWY1019
CLD-D925 - 1 x TC9400F
CLD-939 - 2 x SAA7350GP - SM5813AP
CLD-950 - PD2026B
CLD-959 - 2 x SAA7350GP - SM5813AP
CLD-1070 - 1x LC7881 - SM5807EP
CLD-1400 - 2 x AD1860N
CLD-1450 - 2 x AD1860N
CLD-1500 - 2 x AD1860N - PD0050
CLD-1700 - PD2026A - CXD2500
CLD-1850 - PD2026B
CLD-1950 - PD2026B
CLD-2080 - 1 x SM5860BF - SM5840AP - VWY1019
CLD-V2400 - 1x TC9237N
CLD-3030 - 2 x PCM56P-J - SM5807EP
CLD-3070 - 1x LC7881
CLD-3080 - 2 x AD1860N-K VWY1019
CLD-3760KV - 1 x TC9400F
CLD-9000 - 1 x CX20017
CLD-HF9G - 2 x SAA7350GP
DVL-909 - 1 x PD2029AM
DVL-919 - 1 x PE8001A described as Pioneer re-badging of Burr-Brown PCM1716 (24-bit/96KHz, mid-range)
DVL-S9 - 1 x PD2029AM
LD-V8000 - 1 x LC7881-C
LD-S2 - 2 x MB40778
LD-S9 - 2 x SAA7350GP - PD0116A
LD-X1 (not sure US or JPN) - 2 x PCM58P-K - VWY1020
HLD-X9 - 2 x PCM1702P (20-bit high-end Burr-Brown)
HLD-X0 - 2 x PCM1702P-K (20-bit high-end Burr-Brown)

McIntosh

MLD-7020 - 2 x SAA7350GP - SM5813AP

Philips

CDV-488/487 - TDA1541A-S1
CDV-496 - TDA1541A - SAA7220P/B - TDA1542 - CDM-10
LDP600WS = 2 x SAA7312

Denon

LA-3500 - 2 x PCM61P

Onkyo

DV-X500 - 1 x PD2026B

Panasonic

LX-200PEX - 2 x PCM61P

Yamaha

CDV-S100 - 2 x PCM56P-J
CDV-W901 - 1 x PD2026B

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Posted: 29 Sep 2016, 18:38 

With this level of intellect, I am surprised you can operate a laserdisc player to be honest.

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Posted: 13 Oct 2016, 22:20 

Yeah, another thing not mentioned is that when Criterion started out home video was only barely considered worth doing so it was no problem to license them Ghostbusters or whatever. Now studios release all that stuff themselves. Their first two releases were King Kong and Citizen Kaine. Clearly they aren't opposed to mainstream hits.

Armageddon had to be some kind of ironic hipster joke though. I still don't understand why they did that.

Criterion's founder is buddies with Michael Bay. He allowed them to do the Rock and Armageddon while they were also released from Universal at the same time.

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Posted: 20 Dec 2016, 19:31 

I got the figures. Complete production run is between 300-400 units at the moment. Last word, there is only 3 months worth of supplies left at the Lumagen inventory. Again from what I have heard, they sell 4-5 a month which means there is about 20-30 units left. I convinced Jim to go for another active year before discontinuing this product. So they will probably make another 50. So it is as rare as it gets. Most customers go for hdmi only units as they don't care for legacy devices.

Lumagen offers great trade in programs, so it is unlikely we will see used 2144s on eBay or any where. Out of that 400 built, 300 or so will remain in systems forever anyway.

It is expensive but there are a dozen X9 sales a month. 2144 is a much better value as you can use it with other video up to 2K with lossless audio.

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Posted: 22 Dec 2016, 22:59 

I have been getting some PMs since this thread. I need to put this out there. I am not in anyway affiliated with lumagen. I am not employed or have any commissions on sales. I am merely a user/customer myself. It is not in any way my product. I have helped Lumagen develop some features and I am a beta tester for the 4000 series pro.

I am happy to help anyone get in touch with the best contacts for a purchase and answer your questions setup the unit. Those who have exchanged PMs with me knows that I do my best to answer each question and give you unbiased opinions(even sometimes against products I sell). I have sold a few items in the past and still kept in touch answering questions about those items. Lumagen Radiance 2144 isn't something I sell though but feel free to ask away your questions. I will answer as best as I can.

I am willing to negotiate a power buy option if we have enough interest.

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 Post subject: Re: CLD-R7G Arrived!
Posted: 26 Nov 2017, 19:30 

My list and ranking are solely on the composite output. There really isn’t a LD player with a decent Svideo output except maybe h9 and r7g. Both thei mitsu chip in x9/s9 and nec in x0 has more issues than benefit. If you are serious about your video quality, you should avoid svideo on all players except h9 and r7g.

X9 solely as a ntsc player is far from perfect. It can play muse discs which is a valid point to choose it over 97. X9 has less luma noise and crosstalk than 97. 97 has significantly less chroma noise where Ld medium has the most problem. Assume 97 has no dnr as its junk. X9 has the best dnr on any LD player. On up to moderate settings I didn’t see any annoying artifacts. X0 showed blocking artifacts on even the lowest settings. I stopped using dnr on it but it generally does not need any dnr as it is already the cleanest picture without any. Its so clean that it beats the x9 on highest dnr setting. S2 is indeed close but still the picture looks a little different. Probably due to lower bit depth dac at the video output.

%95 of what you read online about LD players is either outdated or written by people who have no idea what they are talking about. Most of them have not even seen these equipment from distance but they talk anyway. There is also a whole bunch who has extremely biased opinions because they sank way too much money in their expensive player and they can’t get out of the Ld nostalgia. There is really a handful who you can trust. Up until I bought my X9 and X0, all comments were that they vastly superior to anything including DVD. I am pretty I was the first one to come out and say they are only slightly better than commonly available S2/97 and others. I even went further and ranked the 97 ahead of the X9. My most upsetting comment is perhaps no matter how much money and time you sink into LD, a $50 DVD player will beat it senseless :)

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Posted: 24 Dec 2017, 01:57 

Not very well in my opinion.

Dolby Pro Logic processing is the same on all devices with that logo. It’s a licensed sw that Dolby makes. They all use the same exact algorithm. The problem with this unit is it is old. Dolby improved pro logic processing algorithms a number of times since. The most current is Dolby Atmos upmixer.

Besides the antiquated dolby processing, it has old dacs and dsps. You speakers placement and calibration is within 1db and 1m on this unit. Newer processors will do 0.1db and .5 meter accuracy.

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Posted: 30 Dec 2017, 15:56 

Don’t waste you time and money on antiquated audio processors. They have moved on a long way. All surround processing, even if you feed analog inputs, happens in digital domain. For digital processing your fpga gate count, processing speed and memory amounts matters. Comparing a 90s audio processor to todays is like a 10 digit calculator vs ipad pro.

Try and buy an avr from the past 3-4 years, with at least dolby pro logic iix or preferably dolby atmos upmixer.

Pro logic
Pro logic ii
Pro logic iix
Pro logic iiz
Atmos upmixer

These are the generations of pro logic processing and things got really improved with the pro logic ii and on wards.

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Posted: 29 Mar 2018, 18:41 

The last jedi - not only a bad Star Wars movie, it’s a bad movie period.

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Posted: 03 May 2018, 16:46 

These are from my memory, I might be a off a little bit but this is how it started (give or take). Sony and Philips developed Compact Disc (CD) and Pulse Code Modulation(PCM). Philips developed the hardware which is a 15bit R2R type DAC chip. Sony came up with the 16 bit PCM sampling. The first CD players had to be modified to down sample the data to 15 bits in order for the Philips DACs to be compatible.

The second generation Philips DACs came out soon after and were true 16 bits. In this second generation, TDA1543s came out and still considered one of the best DAC chips ever designed. These chips are true 16 bit and 44.1 Khz. The S/N ratio isn’t great compared to todays standards but you can stack multiple of these in parallel to significantly improve S/N and dynamic ratio. There are current designs which incorporates 10 to 20 of these DAC chips in parallel. Every time you double the amount of DAC chips in parallel, the S/N improves 3db. So typical 4 or 8 per channel is typical for a 6 to 9db improvement on the S/N ratio. Needless to say, these chips are extremely rare and expensive nowadays since they haven’t been produced for decades. That’s why those exotic DACs cost thousands of dollars.

Later in the game, Burr Brown (now TI) came up with their multi-bit DAC chips. PCM63 was the very first great one. It is a 16 bit chip and some found it the most musical chip every made. PCM 1702 later replaced PCM63. It is based on the PCM63 design but now has 20bits. (HLD-X9/X0) uses these chips one per channel). Again, stacking these chips in parallel yields the best results. PCM1704 further improved with 24 bits. Good Dacs usually have at least 8 in total. Acccuphase DAC which cost $20,000 has 16 of them and perhaps the DAC ever design for CD playback.

Early 2000s, chip manufacturers abandoned multi-bit DACs and make only single bit DACs with extreme upsampling. Currently, there is no multi-bit DACs in production. The last one was PCM1704 from 10 years ago. Current ones employs something called Pulse Width Modulation (PWM) and a filter at the end to create a sine wave with a single bit. The sampling rates are generally in megahertz. The ESS chip admin mentioned here is a single bit chip with some insane oversampling. The 32 bit they talk about is theoretical here. It is by no means a multi-bit DAC but its performance is equivalent of a 32bit chip. All incoming signals are converted to 1 bit PWM, which Sony calls it DSD, then runs through a filter to create sine waves. This way the DAC chip does not need ton of resistors to create a R2R multi-bit ladder network and the cost is way down. The quality heavily depend on the software algorithms used and the filters used at the end. ESS DAC chip uses 8 single bit DACs in parallel (in one chip) to further increase the S/N ratio.

To summarize it all:

To have really high S/N ratio, multiple multi-bit DACs need to be stacked in parallel. Multi-bit DACs like PCM1704 costed something like $40 per chip back in the day (way more in the used market now). These chips are single task only, they need other chips to compliment them such as i2s receiver, up/over sampler and digital filter chips. They output current and need analog circuitry at the end to convert to voltage output. McIntosh MDA1000 is a great example. It uses a custom fpga to upsample all incoming signals to 24bit 768 Khz, uses 8x PCM 1704 in parallel, an excellent current to voltage convertor and am analog smoothing filter. Probably the best DAC ever built along with the Accuphase DACs. These are extremely expensive electronics, just the parts alone are worth a thousand dollars. With the cosmetics, support, r&d and other costs included, these companies charged $8,000-$20, 000 for these DACs.

Now the ESS chip is around $35-60 and it does all that in one chip. Oppo uses two of these. One for the stereo output 2x4 DAC chip configuration and another chip in 8x1 DAC chip configuration for its 7.1 output.

I will write some more later but enough for now I think.

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Posted: 09 May 2018, 18:20 

Some chicken and eggs

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Posted: 21 Sep 2018, 01:58 

Lumagen radiance 2144.

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 Post subject: Re: Searching for a 2144
Posted: 03 Oct 2018, 18:26 

I think you should contact Jim directly and negotiate the price and shipping. I believe the shipping cost is just an estimate. I am not financially afliated with Lumagen, I have no influence or cut in the price. I just do my best to help people. Mention that you got his contact and this information from me. I will also tell him that you will be contacting him. He is very friendly and reasonable. My name is Mahir. His email is jim@lumagen.com. Let me know how it works out.

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Posted: 30 Dec 2018, 06:50 

The way electronics are now I feel they don't last as long.

Only option I can offer is the cheaper one if it dies fast or if you get the more expensive of the ones you are looking at look into getting it fixed.

Sony has always been an issue, but you could possibly look into a part to replace??? Sometimes this is an easy fix for a board or something on newer sets.

I don't want to try to repare it for now, because if I loose my screen, I will have nothing for the next months to see movies...^^
After buying a new one I will try to fix it myself. For now Sony told me it could cost between 25000 yens and 80000 yens to repare it. Then I prefer buy a new screen.

Thank you everyone for your advices !
- I will wait for 6 month for gather money.
- If, during these 6 month I can find a very good condition Kuro for less than 100.000 yens, and if I can check it myself (not on internet), I will take it.
- else, I will take a new screen. I will search about Panasonic also, thank you nissling. Substance, if you says that OLED is not a good idea for dithering, LCD would be better ? I am also concerned about burning on OLED, because hald of my movies are in 4/3 size...


Oleds aren’t true 10 bit displays. To make the illusion they do dithering and other tricks. Some do it better some do worse. On modern material like bluray, 4k etc. it’s unnoticeable. On old stuff, it’s possible only I see it. I have yet to see anyone who is more critical than me on video.

Pros are way too many. Save up your money and get an Oled. You can fix dithering with Lumagen(and many other things).

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Posted: 13 Mar 2019, 09:43 

Smaller values favores video mode deinterlacing and larger values favores film mode deinterlacing.

You need to understand, film material is already progressive full frames later to be interlaced into two fields (even and odd lines) due to the limitations of NTSC. In film mode, deinterlacier finds the matching fields and combines them. It’s a simple operation but cadence needs to be picked correctly for it to work. Technically all film footage should be 3:2 cadence but anamollies exists between edits and film/video mixed footage (tv series, anime, etc)

Video is shot on video cameras which capture images in fields. There are no two matching fields to combine. Deinterlacer double these fields to make up a full frame using interpolation. Basically assumes the missing lines.

I mentioned cadence detection above. When the deinterlacer can’t pick the cadence, it uses video mode (interpolation) even on film material. Typically most deinterlacers will look for 3:2 cadence and if it’s not 3:2, it will apply interpolation to double those fields. Yoi favor video mode in this setting and radiance will revert to video mode more often. This often yields softer picture because you only have half the resolution (one field) to scale up to full resolution. Less combing because interpolation smooths out the jaggies.
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