Pink Floyd-Pompeii Professionally transferred from a 4-track, 35mm CinemaScope print

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There will be a version that actually works available somewhere.....

be patient..........
 
Que "Redemption Song" :banana:

On an unrelated note, I'm having trouble playing this DVD-A on my stand-alone player which plays pretty much every format (DVD-A, SACD, PAL, etc.). I tried burning the AUDIO_TS folder as a Data Disc, then I tried again adding an empty VIDEO_TS folder, then I tried burning both as a DVD video and nothing seems to work. Any suggestions from those who were able to successfully play this?

Use ImgBurn. Burn as "write files/folders to disc" and choose the "Pink Floyd - Pompeii 4.0" folder where the AUDIO_TS is inside. You will get a couple of window pop up's, just click yes and yes and we're good.

BTW - before queuing up "Redemption Song" try comparing "Echoes, Part 1" from the Director's DVD and this DVD-A. You'll find pitch differences. The DVD-A directly from the film sounds at the right pitch.
 
My question, if you can answer it, how does the 35mm CinemaScope print differ from the all the Video versions released in terms of aspect ratios? I remember seeing this in a movie theater in 35mm. When I see the 4:3 Video, that seems like the theater print I recall seeing a long time ago, except that the sides are cut off and blacked out to fit it to 4:3 Video. The Director's cut seems to try and get the letterbox back by zooming in on the 4:3 Video.
The film was shot on 35mm so the correct aspect ratio is indeed 4:3. If you saw this in any sort of widescreen format in theaters then the top and bottom of the image was masked off either by the projector or matted curtains on the screen. Standard practice back in the day. The 4:3 60 min bonus version on the DVD (performance only) is the the correct, full aspect ratio. Hope this helps.
 
Use ImgBurn. Burn as "write files/folders to disc" and choose the "Pink Floyd - Pompeii 4.0" folder where the AUDIO_TS is inside. You will get a couple of window pop up's, just click yes and yes and we're good.

BTW - before queuing up "Redemption Song" try comparing "Echoes, Part 1" from the Director's DVD and this DVD-A. You'll find pitch differences. The DVD-A directly from the film sounds at the right pitch.
Thanks for the tip OQG! (y)

And my joking Redemption Song comment was in regards to my statement that the original negatives and interpositives were in fact NOT lost and used for the transfer for the DVD, a point that seemed to still be in question. Speed problems seemed to be historically obvious.

This is also not a game of "who's right." I don't claim to know anything, just asking for info.
It's not a game, it's about getting the facts right. And no need to get defensive. I was just proving a point that was brought into question by another forum member (grill). Apologies if my sense of humor did not transfer well here.
 
Thanks for the tip OQG! (y)

And my joking Redemption Song comment was in regards to my statement that the original negatives and interpositives were in fact NOT lost and used for the transfer for the DVD, a point that seemed to still be in question. Speed problems seemed to be historically obvious.

It's Cool. And I want to thank you for clarifying the issue. When you posted his quote, it of course now seems clear he was referring to the added footage. I took him to mean everything was lost by 2003. Thank god it was not. I too await the Blu-Ray.
 
"In the case of Pompeii, a PAL source instead of an authentic film print was used for the DVD (as well as previous releases of the film). So since the NTSC version was transcoded from a PAL source, not only was the speed kept intact but a 2:4 pulldown appeared as a result. There was also some quality lost in the process."

My question, if you can answer it, how does the 35mm CinemaScope print differ from the all the Video versions released in terms of aspect ratios? I remember seeing this in a movie theater in 35mm. When I see the 4:3 Video, that seems like the theater print I recall seeing a long time ago, except that the sides are cut off and blacked out to fit it to 4:3 Video. The Director's cut seems to try and get the letterbox back by zooming in on the 4:3 Video.
First off, that post of mine is a little misleading, and I've since gone back and revised it. Of course the DVD was sourced from an authentic film print (the original negatives, in fact!), but what I meant to say was that the master didn't run at 24 fps, the traditional film frame rate.

As for the aspect ratio, from what I've gathered the OAR is 1.37:1. Since the film was originally made for TV, it seemed like a no-brainer to go with the 4:3 framing. For later theatrical screenings, however, some matting would've been done (either to 1.66:1 or 1.85:1). So while some shots may've turned out fine, others seemed a bit compromised by the cropping (notably those found in the DSOTM segments).

Another question, if it's ok to ask, is how was the audio laid out on this print?
The audio on our print was laid out as such:

Fig%203.jpg
 
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Forgive me for asking what might be a silly question (i've only just taken note of this thread), Was the quad soundtrack utilising all of the four audio/control tracks, or was it matrixed in someway?
 
From that diagram i see 3 audio tracks and a control track. So, exactely how werethe 4 channels used?
 
I was thinking similar things myself. 4 track magnetic on 35mm is normally left front, centre front, right front and rear effects ie. a mono surround channel. Even 6 track magnetic 70mm only had a mono rear in the standard configuration, the extra two channels being for subwoofer and an extra centre (and here my memory is a bit hazy).

Using the 4 track magnetic 35mm directly for quad would be very unusual, almost no cinema would have speakers set up in the correct places. They'd be particularly unlikely to have stereo rears available, and wouldn't be keen on no Centre channel.

Tommy the film is a case in point. This was 5 channel on 4 track magnetic 35mm by putting a matrix encoded quad track on the front left and front right, with the centre channel running as normal. Not sure what they did with the fourth magnetic track, if it was me I'd have made it a mono rear for compatibility with cinemas that didn't want to install a matrix decoder.
 
I certainly hope one of those involved could explain exactly how it was configured........
 
Note also that the 4th magnetic track used for surround effects is half the width of the other three on the film print so doesn't offer as good audio quality. This is sometimes called the control track since it was used as such on 3 track prints ie ones with no surround effects (not sure what it controlled). So true quad on a 4 track print would have poorer audio quality in one of the two rears, which might sound a bit odd.
 
Thes two posts claim to be by the person that did the transfer, and they claim it really is 4 track quad with all the non standard issues I listed above.

http://www.yeeshkul.com/forum/showpost.php?p=190792&postcount=39

http://www.yeeshkul.com/forum/showpost.php?p=190793&postcount=40

I hope posting links is OK on QQ. Seems the best thing to do to me since it shows where the pages really came from.
I was a bit hesitant to post these links but they should be okay since they do not point to the download of this material but rather pertinent information that many here will find useful.

Well done! (y)
 
Thes two posts claim to be by the person that did the transfer, and they claim it really is 4 track quad with all the non standard issues I listed above.

http://www.yeeshkul.com/forum/showpost.php?p=190792&postcount=39

http://www.yeeshkul.com/forum/showpost.php?p=190793&postcount=40

I hope posting links is OK on QQ. Seems the best thing to do to me since it shows where the pages really came from.

That would be me. I did not do the original transfer (which was a very very well done BTW). I did all the restoration and mastering work for the audio.

This has been at the top of my 'lost holy grail' list for a long time. When Supervehicle first contacted me my jaw just dropped! That the audio was this intact and restore-able was just as jaw dropping.

re: track questions
The image above is correct.
Normally tracks 1 2 3 4 correspond to L C R S. For this discrete quad version, it's L R Ls Rs. There were only a few select theaters in New York and LA that were able to present this very short lived alternative use of the format.
The fidelity of the Rs channel (track 4) is noticeably less as expected. This however, is far outweighed by the lower fidelity of the rear channels due to what almost certainly has to be a higher generation recording vs the front channels. See the notes for full discussion on this.
 
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