It is currently 19 Mar 2024, 05:32

All times are UTC [ DST ]


Search found 5 matches

Author Message

 Jump to forum   Jump to topic

 Post subject: Re: cld-1010 mythbusters
Posted: 04 Mar 2018, 19:37 

I just want to add a disclaimer here for all.
It really isn't the best thing to look at lasers.

 Jump to forum   Jump to topic

Posted: 25 Aug 2020, 09:01 

Tony, excellent stuff and many thanks for taking the trouble to put these up. I was especially interested in seeing the squeezed/anamorphic shots and definitely not disappointed with what I see, I have the Muse/Hi-Vision Okinawa Underwater disc and that one looks quite stunning on the 110" 16:9 screen plus the EFM audio track sounds wonderfully transparent and detailed also.

 Jump to forum   Jump to topic

Posted: 16 Oct 2020, 18:04 

Great responses from everyone so far.

I've been watching more movies with an eye for the mastering. I would have to agree that a major part of why later LDs look good is the component sources and higher resolution scanning of the film as compared to pre-DVD era LD mastering, even digital mastering. Anything from a D1/D2 source was always a 720x486 sample so that is baked into the image. When you scan a film at 2K then reduce that 2K to NTSC it will always look better than scanning the same film at D1 resolution. Especially now with large fixed resolution screens and the tendency to zoom in. Maybe it didn't matter as much with CRTs.

Also, consider the source generation. A movie released in 1982 and made available on LD in 1995 for the 4th time might be using a safety copy or other multiple generation copy away from the actual theatrical print. Criterion, and some other titles, specifically list what the film source was (negative, inter-positive, etc). So when all the stars line up and you get an old film that gets a new component HD scan (for DVD) from a new/better source and a SN mastered LD you win big. I'm assuming this is what Rein-O is talking about with GWTW. I have the snapper DVD that likely is the same transfer and it does look great. I think the THX Oz from the box or the single disc mastered by Kurray are similar situations.

Moving on, I found it interesting that while Kurray is touted for being the plant that used Super NTSC the most it seems that Pioneer USA has more titles that are noted by Disclord as being SN (Fifth Element, Titanic, Deep Impact, etc). How does he know anyway? Was it mentioned in an article/review back then? Did he have contacts? I never quite understood how he had all that info. I think he was a projectionist but I have no idea. He sounds like he could be a sales rep...

Another small point to be made regarding color is that D1/D2 uses 4:2:2 sampling while DVD compliant MPEG-2 uses 4:2:0. That means that technically speaking there is more color information on a LD versus a DVD. Combine that with Super NTSC and it is possible to have a much more vibrant color on LD but for things like chroma noise, etc.

@9954Tony you're totally with me on this and I love it. I have the same CFD-SN but I'm using the FLI2300 in the Cyrstalio II. Thanks for sharing the PDF. I think that you're correct in that the benefits are encoded into the signal and need to be decoded properly to work as intended. However, a lot of the Faroudja patented stuff is imitated and implemented under different names by other manufactures so its possible that they too decode SN in some way. Look at Dolby Stereo you can decode it with Pro Logic, PLII, PLIIx, or even DTS NEO, etc. And, again I agree that ALL of this info is speculative so from title to title and plant to plant there will be variances. I had that Abyss and sold it since I have both box sets and the DVD. Film does have grain and when you're shooting in a tank in the dark there will be grain no matter what. Underwater film grain has to be hard to encode/decode. Check out Sphere and see what you think. Pioneer USA press with 59-xxxxx mint marks. Similar visuals. Armageddon sounds like it may have been delivered to Kurray on D2 not D1...baked in NTSC. In fact, all Armageddon US LDs were Kurray pressed and probably all look exactly the same.

@signofzeta yes, I think you're correct that one could observe the difference on a scope. Though if SuperNTSC has to be compatible with NTSC (and also decoded) then it may look like PONTSC (Plain old NTSC) on a scope. I would guess that somewhere in the VITC you could find some info about it. I recall that some THX discs use the VITC for something like that.

@ertolli you can master a DVD from anything but for major Hollywood movies I'm hoping DigiBeta was not used as it records 2.34:1 DCT-compressed digital component video signal that then needs to get MPEG-2 encoded. I'm guessing not. But you're right there are some really amazing looking 100% analog LDs mastered from 1" C.

@odotb3 Good note on Con-Air. I have the AC3 that I should re-visit but remember it being "meh". Big action movies (especially 2.35:1) with lots of moving wide shots and a very detailed set are difficult for NTSC (and MPEG-2).

So maybe the Domesday crowd can help us out and see if there is any way to identify Super NTSC encoded LDs. Without that or a definitive list from a definitive source we're all just chasing at shadows in the dark.

 Jump to forum   Jump to topic

Posted: 29 Dec 2020, 20:20 

lonerangerface wrote:
I mainly use a Pioneer, since they came up with LaserVision.

That was Magnavox/Philips...

 Jump to forum   Jump to topic

Posted: 09 Jan 2021, 01:08 

Also, you're cheating because you are using some kind of decoder to get a better picture so obviously you will win unless you take a screenshot without using that device.

Aren't you using topaz and capturing it through a computer???
Thats not straight from TV.
Those are the best shots straight from TV with eyes, they look best.
Page 1 of 1 [ Search found 5 matches ]


All times are UTC [ DST ]


Jump to: