Home Forums Ganymede & Titan Forum Demastered – A Series X Project

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    There’s a particulary odd but jarring issue I have with the new episodes of Red Dwarf…

    They look ‘wrong’.

    The first six series steadily expanded their visual and audio palettes as the episodes progressed but they maintained a visual consistency primarily through the use of analogue cameras which captured 50 frames per second instead of 25, a 4:3 screen ratio which constricted the idea of a more cinematic Red Dwarf visual style and of course, rubbishy old VHS quality for fans wishing to buy any episodes before the DVD era.

    So I’m going to essentially demaster series X.

    I’m going to begin with a frame interpolater to double the framerate to 50 FPS, matching the first six series, crop the sides to remove the widescreen and more cinematic feel to the latest episodes and run the episodes through a consumer VHS player and recapture the footage, desaturate the colour and add a few blemishes here and there.

    I might even redo the title sequence and end credits but that would lead to me tinkering endlessly…

    So, that’s my plan and I’m sticking to it.


    Don’t forget some 1980s rejected Doctor Who sound effects, turn down the saturation to about 10%, and after all that, copy the finished programme to VHS, smear shit all over it, re-rip it. Then upload :D

    Ian Symes

    Do the framerate thing, then STOP, FOR GOD’S SAKE.

    Pete Part Three

    >…crop the sides to remove the widescreen and more cinematic feel to the latest episodes and run the episodes through a consumer VHS player and recapture the footage, desaturate the colour and add a few blemishes here and there.

    This bit is a joke, yeah?


    Luckily, I’ll be providing three versions!

    – Frame rate doubling and that’s that
    – Frame rate doubling and widescreen cropping
    – Going all out with VHS capturing, audio tweaking, intro and credit edits and a few more surprises

    The first two versions will not be made available.


    My Betamax recording of trojan perfectly achieved most of what you’re going for, especially as I had to pipe the signal from my V+ box through a scart-composite transcoder (V+ box doesnt use the composite carrier in the SCART cable) then into my composite to RF modulator to finally go into the flakey RF-in.


    But your betamax recording doesn’t interpolate new frames, merely duplicate frames.


    I have a hardware interpolator I can whack in there somewhere, and a scanline generator if you want to go all out…



    I’ll report back after some VHS tests and see if additional ‘analogueness’ is needed.

    Jonathan Capps

    Luckily, I’ll be providing three versions!

    Yay :)

    The first two versions will not be made available.

    Oh :(

    Ian Symes

    That’s like saying I’m going to provide three version of this sandwich – one will be two slices of bread, one will be some bread with butter and ham on it, and the third will be the full sandwich. The first two versions will not be eaten.


    I could re-do the credits with my video toaster… or with my shitty Tandy home video titler.


    The video toaster was NTSC only, unless you’re one of those American Red Dwarf fans that I keep hearing rumours about.

    The sandwich will be of an ’88 to ’93 vintage.


    I have a PAL transcoder card in my A4000 so it’s not an issue ;-)

    EDIT: sorry that should technically be time base corrector not transcoder.


    I can’t decide whether you’re trolling me with tales of sexy vintage hardware or you’re genuinely an analogue head.


    A few people on this forum could answer that haha

    But basically, name a piece of analogue video hardware made before 1995 and there’s a very good chance I have it stuffed into a corner somewhere.
    From open reel onward, I also have complete edit suites (the size of a small room when set up) for umatic and SuperVHS.

    Cameras ranging from B&W Studio setups to betamax consumer models, kinescoping rigs…

    Also have an appallingly massive amount of Amiga hardware.

    So no, not trolling.



    Ben Kirkham

    God, I love this sexy tech speak!


    All this to make a professionally produced and visually beautiful show look a bit pish and 80’s…

    A Bailey

    Counterpoint to this is Doctor Who. State of the art now in many ways but that’s a good thing.

    I would love to see Red Dwarf 1 if it was available in this sort of quality. The bleak atmosphere and 2001ish effects shots would be magnificent in cinematic quality.


    Do the framerate thing, then STOP, FOR GOD’S SAKE.

    “Stay back, Pete Tranter’s Sister.”

    Ben Paddon

    Y’know, if we ever get isolated model shots from Red Dwarf X I wouldn’t object to seeing them dropped into Series I and II.


    I agree with Adam’s comment about the audio and visual presentation in post-2005 Doctor Who being a positive. Let’s be fair, the older Who serials really had to make use of what was around them, mostly uninspiring, overcast location shoots around England and of course, harshly lit studio sets adorned with plastic and chipboard tat to make it all futurey-wuturey.

    So does Red Dwarf but let me finish…

    Doctor Who is primarily (at least now) an action-adventure series whereas Red Dwarf will forever be a sitcom that just happens to be set in outer space. A more cinematic presentation suits Doctor Who and allows the viewer to engage in the unfolding storyline and characters without being continually reminded and distanced from the world presented because of the rubbishy sets that were so prevelant through its original twenty-six year run.

    Red Dwarf however, suits a traditional non-widescreen and video captured presentation because it doesn’t prioritise the action and adventure over the comedy. Its main goal is to make the viewer laugh. In the Bodysnatchers documentary ‘Remastering Red Dwarf’, Doug Naylor comments that a cinematic presentation adds a gloss and barrier to the comedy that sits inbetween the show and the viewer. I seem to pick up on that divide when watching series VII, Back To Earth and the new episodes and my suggestions for essentially reformatting series X so it sits alongside the first six series visually are a way to re-engage that priority of comedy over the visuals, action and adventure.

    Ironically, after this little jaunt to ‘Eighties’ up the new episodes, I’m going to be embarking on a project to remaster the first six series.

    Pete Part Three

    >Red Dwarf however, suits a traditional non-widescreen

    Nothing, in the 21st century, suits a traditional non-widescreen presentation unless you’re trying to convince people it was shot in the 20th century (and why do that?). Pretty much everyone has widescreen televisions, so why the hell should anything be shot in 4:3 these days? And cropping stuff that was shot in widescreen is fucking moronic. Good luck trying to frame 90% of the scenes properly.


    The stock series X episodes will be there in high definition widescreen if you prefer them, nobody is taking them away. I prefer a 4:3 ratio, standard definition, 50 frames per second ‘video’ look and Red Dwarf was suited perfectly for that as in my mind, a cinematic presentation detracts from the comedy.

    Shooting in 4:3 was championed by Stanley Kubrick as it allowed the entire height and width of a film frame on a 35mm camera to be utilised and furthermore, he ensured that a widescreen presentation of the film was possible by keeping the action within an open matte and opening up the matte (top and bottom of the frame) for optional fullscreen presentations which showed off more of the scene that were previously hidden in widescreen

    This is much more than a simple frame speed bump and widescreen cropping. This involves new intro and credit sequences, VHS covers, pre-episode channel identifiers, the whole works and is a labour of love and a very quirky project, almost like a fan translation of a Japanese video game or a fan recut of a movie.

    This is Series X – 1990(ish).

    Pete Part Three

    >The stock series X episodes will be there in high definition widescreen if you prefer them, nobody is taking them away.

    Thanks, I was worried.

    >Shooting in 4:3 was championed by Stanley Kubrick as it allowed the entire height and width of a film frame on a 35mm camera to be utilised and furthermore, he ensured that a widescreen presentation of the film was possible by keeping the action within an open matte and opening up the matte (top and bottom of the frame) for optional fullscreen presentations which showed off more of the scene that were previously hidden in widescreen

    Oh, wow. I didn’t realise that Red Dwarf X had been shot in a way so as to preserve two formats, as championed by good old Stan. Crop away, then.


    I’d like to open up this thread to fellow boarders with suggestions about VHS slipcase designs, pre-episode identifiers, intro and credit sequence changes and any other tweaks that could be implemented.


    This is a wonderful idea.

    [blockquote]In the Bodysnatchers documentary ‘Remastering Red Dwarf’, Doug Naylor comments that a cinematic presentation adds a gloss and barrier to the comedy that sits inbetween the show and the viewer.[/blockquote]

    He said that? Why did he go ahead and Series X all cinematic?


    The only visual elements of the new episodes that differ quite vividly from the first six series are primarily video resolution, screen ratio and frame rate. In terms of presentation, series VII and Back To Earth were really tuned in terms of lighting and set design to give a more immersive, cinematic feel in contrast to, for example, series VIII and X.

    Modern television production is geared towards ensuring most shows don’t go out looking like they were taped in BBC Manchester Studios circa 1988 (for example, the first series of Red Dwarf) so audio and visual post-production is geared towards presenting a professional and ‘film-esque’ production.

    I do love the visual style of series X but as I’ve said, this project is more of a fun diversion and alternative rather than a genuine attempt to replace and correct an entire series worth of shows.

    Who am I kidding, it is a replacement…

    Ben Paddon

    Nothing, in the 21st century, suits a traditional non-widescreen presentation unless you’re trying to convince people it was shot in the 20th century (and why do that?).

    I’m assuming you never watched Look Around You 2.


    I still pine for a third series of Look Around You set around 1989 with particularly dodgy blue screen work, clunky CGI titles and a ‘yoof’ section produced by Janet Street Porter.

    Tarka Dal

    Na JSP was running the gaff by 1989.

    Pete Part Three

    >I’m assuming you never watched Look Around You 2.

    By “Why do that?” I meant, why would Pete Tranter’s Sister want to do that? I love it when shows replicate the look of 20th century shot-stuff when there’s a valid reason. My problem is that there doesn’t seem to be one here.

    Presumably the next project is to convert new episodes of Doctor Who into black and white.

    Danny Stephenson

    What I might do is go to the BBC archives and delete the latest series of Who from their servers, that way it’l;l be JUST like those 1960 episodes…


    It’s weird. I understand why people would prefer the 50 fields a second look, as it’s more intimate and certainly fits a sitcom. I also understand why a lot of people prefer 4:3 for comedy. In fact it’s well documented that a lot of American sitcom creators didn’t want to move to 16:9 because they thought it too cinematic for comedy. I believe Family Guy was one example that stuck with 4:3 until they were forced to change.

    However, sitcoms in America have been shot at film frame rates (and in a lot of cases on multi-camera film) for years. It’s never really bothered me watching it that way, just as watching shows like Big Bang Theory in 16:9 hasn’t bothered me in the slightest.

    Maybe it’s what you’re used to do with a show. If a show starts out on 50i VT, then suddenly switches to 25p film, it’s jarring. Whereas if a show was always in 25p, you’re used to it being that way.

    Bizarrely Red Dwarf being in 25p never really bothered me. It certainly hasn’t bothered me this new series. Only the re-mastered versions seemed jarring.

    Seeing as though old episodes played on computer screens are effectively de-interlacing the footage anyway, do people who love the 50i really have a problem watching old Red Dwarf on a computer screen?

    On a slightly different note, i really am worried about films going to 50 frames a second. I really don’t think it’ll work. But then that’s my opinion :)


    I think you should make it like series three where the colours sometimes leave a trail as things move across the screen. That’s the only way I like to watch Red Dwarf.

    Danny Stephenson

    That was the tube in the cameras dealing with light…


    Double post.


    Is that why III looks so bad? I could never work out why the PQ is so much worse than any of the other series.


    I think because III tried all the moody lighting that the later series did, but whereas Series IV onwards was in Shepperton, III was still in Manchester, which had those really REALLY old BBC Cameras that had been around for years before that. If you look at the Bodysnatcher Collection you get a glimpse of the old cameras and on the side they proudly claim that they’re in BBC COLOUR. As if colour was a big deal :D Shepperton cameras were most likely quite new at that point. On Series 1 and 2 it didn’t matter so much because they overlit it so much, you didn’t notice it so much.


    How odd, I was researching that very effect today as I love the trails in 70’s Top Of The Pops and Fawlty Towers.

    It’s easily duplicated but therein lies the dilemma when it comes to this project, namely how far the ‘re-analogue’ process can be taken before additional visual processing outweighs the main intents.

    – Doubling the frame rate using motion interpolation software (25 progressive frames as seen in VII, BTE and X to 50 interlaced frames as seen in I – VI & VIII)

    – Cropping the widescreen picture (16:9 ratio) to pre-Back To Earth (12:9)

    – Editing new intro and outro sequences to better match the faster paced editing of the first eight series and bringing back the end credit flyover

    – Completely retitling the episodes to introduce subtle chroma trails (jaggies) around the text graphics and using a combination of series I to VI font styles

    – Colour grading the episodes to better match how it would look if assembled and edited on a professional betamax machine (or whatever equivalent was used for the first six series)

    – Adding colour trails, VHS glitches, banding effects and other quirks of the analogue world to the episodes

    – Creating VHS slipcases for the series, essentially Byte One and Byte Two and perhaps a double VHS slipcase for the posh sorts who prefer boxsets

    – Pre-episode channel identifiers (Dave as it would be in 1990) with related voiceovers

    – SFX editing in some scenes with not-so-subtle grubbing up of certain effects (Rimmer’s glitching)


    I don’t know why, but I love this idea.

    Ben Paddon

    “Dave as it would be in 1990” would be… well, non-existent, probably. The closest thing would probably be UK Gold.


    Hmm, I’m going to format the Dave graphics to match the early 90’s UK Gold graphics.

    Hooray! Pish graphics ahoy made on a slow as fuck 386 PC with a 40mb hard drive.

    A Bailey

    I think this project won’t make the episodes better, I’d probably watch one just out of curiosity though. It does seem that by focusing on things like flaws with the cameras used in the past you are missing the forest for the trees.

    Jonathan Capps

    I think you should avoid creating your own blemishes, as you mentioned in your original post. It seems a bit forced. Just transferring it down a few VHS generations should be enough.


    I like the colour bleeding idea, all the Umatic recordings I own have red colour bleed.


    The point is not to make the series better, we’re only two episodes in and I’m already loving it. It’s simply to remove more than one visual barrier between the comedy and the viewer and present the episodes as a uniform continuation of the first six series, namely by rolling back the high definition, 25 frames per second, widescreen presentation.

    My initial plan was to leave it there but the prospect of really capturing the quirks of pre-digital, pre-cinematic analogue presentation and pay tribute to a quarter century of Red Dwarf with the first new VHS release in over a decade is something I can’t pass up.

    As for colour bleeding and generational loss, any blemishes that I introduce will be very subtle such as colour banding, audio dropouts and the odd twist in the tape with the inherent spookiness that comes with it. We all remember having a favourite movie on VHS as a child and knowing exactly when the tape quirks would show up. For me, it was Back To The Future Part II and as the Delorean lands in Hill Valley 2015, the audio would muffle for a second and a rather thin but annoying grey band would roll up the screen.

    At the next Dimension Jump convention, I’m hoping to give away one or two copies as prizes and hopefully get my own copy signed.

    Now that I think about it, younger attendees might ask what the fuck a video tape is…

    Seb Patrick

    >I’m going to format the Dave graphics to match the early 90′s UK Gold graphics.

    Dwarf wouldn’t have been shown on UK Gold in the early ’90s, though, because it really was just a repeats channel. And it didn’t start until 1992. Your best bet for authenticity, if you’re talking about a non-terrestrial channel that might have commissioned new Dwarf in that era, is probably Galaxy.


    Would actually really like to see a full animated re-creation of the Galaxy ident, was the only English language channel our fucking squariel ever received properly.
    Fond memories of watching a premier of Star Trek VI in Spanish on one of the other channels we managed to get.


    A solid recreation of the Galaxy idents and themes would be my ideal choice but it’s hampered by the following…

    – Galaxy was never well known televisually outside of early BSB subscribers and as such, doesn’t have a deep and instant nostalgic feeling for many, many people unlike early Sky One idents or even the late 90’s incarnation of the Paramount Comedy Channel.

    – Using ‘Galaxy’ may seem like a lazy way to tie-in with the sci-fi setting of Red Dwarf

    – The idents stand up remarkably well next to modern channel graphics and I really want to capture a late-80’s, early 90’s feel with pastel colours, shit synth music and bad CGI and geometric shapes. Think of a promotional video for some low-key town or company in Middle England who don’t want to spend more than fifty quid on their graphics and that’s the golden ticket. I give BSB and Sky one thing, they fucking well knew how to do a proper ident in the early 90’s.

    Hmm… Paramount Comedy Channel, there’s a possibility, I did fucking LOVE that channel in the 90’s before it became just another crappy sitcom marathon pusher.


    Hey guys.

    I’m a visual effects artist and thought I’d have a go at a concept for this.

    The main things that are different to me are

    -aspect ratio 4:3 vs 16:9
    -black levels, older tv cameras were low contrast so I’ve raised the black levels and crushed the highlights.generally a lower contrast image.
    -resolution, tv from the 80s and 90s was lower res and often viewed on vhs so I’ve downrezed the frame to 480×360
    technically vhs is equivilant to pal but with half the horizontal resolution so 335×576.

    Also I remember lots of colour smearing in the original series so I can do that with a still frame but I’ve added some chromatic abberation. Also I added in some noise/grain to make it look not so digital and clean.


    Looks like shit as a single frame but in motion, it captures the first series rather well. Series IV is where I wanna be visually.


    22 months later… I’ve restarted this project and finding myself facing one visual question.

    I recently listened to a Dwarfcast where the group couldn’t quite explain how the ‘filmisation’ techniques applied to Series VII looked so good. Namely, was it a simple interlace frame removal that dropped the frame rate from 50 to 25 or something a tad more obscure that came along between the analogue to digital video filming switchover in the late 90’s / early 2000’s.

    Either way, Series VII looks great. The lighting around the sets, the locations and the filmisation technique still stands up 17 (!) years later and in watching Series X again to figure out where to crop for the traditional 4:3 picture ratio as seen in Series I to VI and VIII, I came to the conclusion that Series X doesn’t fit itself very well.

    Series X utilises both blanket lighting for the main sets (as seen in the majority of the first six series) and areas of mood lighting as predominantly seen in Series VII and Back To Earth. Now the problem is that blanket lighting doesn’t look great on modern, progressive, high definition cameras. The 25 frames per second output of those cameras immediately aligns itself with a more film-like look and in that, we’re all very accustomed to film grain, moodier lighting, areas of contrast and different colour palettes.

    It seems the team made the decision to allow the design of the sets and overall atmosphere of the new episodes to harken back to the earlier series but modern production studios naturally use modern filming techniques and equipment. So what you get is a clash between traditional lighting and colour palettes and the modern age. The remastered editions of the first three series comes up against this clash as well. You can apply all the filmisation techniques as you like to shift colours, add grain and remove the video look to an extent but you can’t do sod all about the original lighting. It immediately shows itself up as video.

    The Demastered project is essentially the reverse of the remastering project. I’m flattening colours, removing contrast, upping the frame rate and adding the visual and audio quirks of the analogue era that we all remember and pretend to love and in initial tests, it’s been a rare treat to see some of the footage come out looking as if it was filmed not too long after Series II. I’m going to go that far and say some of it looks decidedly… submarine and Peter Jackson-ish.

    Not all of it can though. Some of Series X just looks great from a film standpoint visually and no amount of muddying up can make it look as if it was filmed at BBC Manchester studios circa 1990. Tough, that’s the sacrifice.

    Right, onwards, I’ll post up a few tests in a few days and of course, I appreciate any comments and suggestions.


    Peter bloody Jackson? Paul Jackson.

    Guys, you’ve gotta know your lines. You’ve GOT to know your lines.

    Jonathan Capps

    It gladens my heart to see this thread resurface. And that’s a really excellent point about the disconnect between X’s lighting and the shooting style. I really hope that’s fine tuned for IX.

    Jonathan Capps

    I mean XI, obvs.


    I do plan to have a copy or two as prizes for the next Dimension Jump. I’m hoping to get it signed by the cast and have Doug Naylor chase me for copyright infringement. It will hurt when Chris Barrie looks at me blankly and wonders why I’m handing him fan-made VHS tapes but I’m willing to sacrifice my remaining integrity for said signatures.

    Let’s be fair, why would Doug Naylor want the new episodes to go out looking decidedly ‘BBC Manchester’ when he has pined for a movie with all the fancy visuals and thematic additions that would come with it. Modern production has allowed him to capture the big screen mood but alas, the clash with blanket lit sets to help both the feel of the show and to allow a quicker setup and recording rate because of the return of the audience is tangible and evident onscreen.

    Which is no bad thing, after all, Series X on blu-ray is absolutely stunning. The Beginning for me is like watching the long-awaited film if it was made a decade ago, regardless of the fact elements are based off the pre-production movie script.

    Series XI will be a contrast from X visually but we won’t see as such a difference from say… Series II to III or even V to VI. I suspect the audience will return but we’ll see something akin to a high definition Series VII.

    Hmm, now there’s a thought… who’d like a demastered VII?


    Right, this is a VERY early light and motion test of the first fifteen seconds of Trojan. No colour grading bar contrast and saturation tweaking, no re-framing of the shot, no camera imperfections, nothing. The following is to simply assess how well the frame interpolation holds up alongside picture resizing and deinterlacing.

    If all that sounds a tad technical, basically I’m doing all I can to make a beautifully shot show look rather shite and VHS’d. To properly gauge the difference in motion, play the beginning scene of Trojan as originally broadcast then play mine.

    The following file is 50 frames per second, so if your rubbishy computer can’t handle it, tough…


    Ben Paddon

    Looks good to me!

    Bexley Heath

    I’m nowhere near film-savvy enough to understand half this thread, but it’s fascinating nonetheless. I have learned things! :) Looking forward to checking out the test file when I get a chance to download it.


    I really want to see this happen! If there is one thing I would change about X (visually, at least) it would be a return to the ‘video’ look. It could have been shot that way with the Epic cameras, no problem.


    It’s progressing along as we speak, inbetween creating the definitive Queen videography and bumping Series VII back into the video look.

    The widescreen (16:9) presentation of Series X has brought the principal characters closer to the camera than they would be in the first six series (4:3), so I’ve decided to crop the picture to 14:9 which is exactly halfway between those two screen ratios. The traditional 4:3 presentation looked too claustrophobic and jammed together. Also, the 14:9 ratio was used in the Remastered episodes but we don’t talk about them, ever.

    So, I go shot by shot, reframing and using Series III and IV as a reference to judge whether characters should be dead on centre in the frame or slightly skewed based on camera setup. Turns out that when you really analyse the shots in those particular series, they must’ve had the work experience lads behind the lens.

    And now, we move onto liars.

    Father Peter Thornton.

    Father Desmond Kearnes, remember him?


    Father Lennon Weary

    Father Chilly Becker

    Father Guy Heidi

    Father Terence Wurst

    Father Samuel Redundance

    Father Alpen Spider

    Father Willy Weller

    Father Macaulay Woo

    Father St John Smatter

    Father Lopper Topper

    Father Kayden Krum

    Father Torbeck Winters

    Father June Sarpong

    Father Jimmy Jimjam

    Father Wesley Crusher

    Father Taiwan Tony

    Father Wilson TheBallFromThatFilm

    Father Tripping Cenotaph

    Father Jefferson Airplane

    Father Dick Chew


    Eff you. Eff your effin’ wife.


    please re-upload this or bung it on youtube, the whole thing sounds both pointless and fascinating


    It’s on hiatus until I finish off pre and post-episode idents and VHS promos. I’m currently working on ‘BBC Manchestering’ Series VII and a few other bits and bobs.

    Series VII’s film look was partly achieved by halving the frame rate. Having had a good goose at the episodes frame by frame, I’ve noticed that they were shot on standard studio cameras then the odd fields were knocked out and the even fields duplicated down. Essentially a quick and dirty way to convert 50 fps interlaced video to 25 fps progressive. Because it was 1996 or so when this happened, the conversion process completely ignored any information that could be retained from the odd fields and as a result, fine details ended up blocky and obscured as the vertical resolution of the image was essentially halved.

    So, skip to 2015 and I’ve been able to interpolate new odd fields that use information gleamed from the even fields and furthermore, interpolate up to 50 fps to bring the series back into video land.

    Finally, I’m looking into the possibility of upconverting Series I to VI into HD, formatting new titles and end credits that closely adhere to the originals, colour grading, stereo conversion and other fixes that I can’t recall at the moment.

    So that’s Series X De-mastered, Series VII BBC Manchestered and Series I – VI High Definitioninginised.


    lol at Father Taiwan Tony


    If you ever do Back to Earth, make sure to remove the completely unnecessary CGI skutter pasted over that bunkroom scene.


    this all sounds great and i’d be greatly interested in the results but for now i’d settle for the clip you posted a while ago…?


    It’s gone, started over, I’ll put another up soon though along with a Series VII test and a mock-up of the HD titles for Series IV.



    ok, is deal


    It’s not a fucking drug deal in front of Cappsy’s flat, it’s just some extra frames on the telly, bro.


    Ok, here is a Series VII test. I’ve reconstructed the frame using a modern de-interlacer, interpolated up to 50 fps and lessened colour saturation to bring it into line with the first two series. It’s not even close to the finished product but it’s a start.


    Ben Paddon

    Ruddy Hell, that looks good.


    looks great to me, but then again I just gave up on my series 2 dvd in favour of the vhs. how about a comparison wipe? gworn.



    The End is nigh…

    Series I, upscaled, re-titled, de-interlaced, pro-choice, non-unionised, hosed down and given a hat.

    August 1st on blu-ray.

    Ben Paddon



    said Paddon.

    “Ooh,” said the woman with the invisible appendectomy scar.




    It’s one of the many Red Dwarf projects currently on the boil but this one is advancing along at a fair rate.

    Essentially, it involves cropping each and every shot, not just scene, not just episode, but every shot to remove black bars at the left and right of the frame. Now, this would be simple and completed in a matter of minutes if the bars were consistent across the entire episode. But, naturally, Red Dwarf was shot on analogue video and each camera, each tape they used for capture had varying degrees in which these unused areas of the frame were evident. So, I cut from one shot with Rimmer talking away to the next with Cat or Holly and find the bars have shifted in or outwards by four pixels, sometimes the bars merge where shots have been layered for special effects and transitions, sometimes the bars have terrible patterning that eats into the shot itself. It’s a fucking pain in the arse but ultimately, what it allows is for a completely consistent, edge to edge new master of the episode to then be saved.

    As a result, when the series is upscaled to 720p, what is going in is fully de-interlaced, edge to edge, 50 frames per second progressive video that shows off the absolute full amount of image and detail which can be pulled from the DVD. There’s no changes to colour, no edge enhancement, no personal choices in regards to brightness levels or anything of the sort. This is a precise upscale that takes advantage of the benefits that blu-ray and modern digital formats can bring.

    Of course, having said all that, I decided that all those carefully and innovatively created title sequences, overlays and credit rolls were shite and needed completely erased from history. I am recreating them and the sole reason is that although standard definition footage can look really, really nice in high definition when converted properly and with care, superimposed text and credits can look hellish because they originate from the earliest days of computer generated graphics and simply couldn’t compare to the resolution and quality that hand-crafted or really big budget title sequences at the time could bring. Now, this is undoubtedly gonna be a point of conflict but it allows for EVERY single element of these episodes to shine and not be encased at either side by titles and graphics which simply do not hold up in high definition. These are recreations and not revisions so the choice of font, spacing, speed at which credits run, everything will be as it was but they’ll hold up really nice in this brave new world of 938 inch tellies.

    So, yes, that’s my plan, go back to your constituencies and prepare for Red Dwarf – HD (kinda).

    Kris Carter

    Looking forward to seeing all your various Red Dwarf video projects in all honesty – but please can you upload the previews, tests etc in a format that I can view on a Mac? I’ve tried downloading the previous tests and cannot get them working in any software I’ve got, even VLC which damn near plays everything…

    Cheers m’dears!

    Pete Part Three

    Handbake, Kris?

    Pete Part Three

    Or HandbRake, Kris?

    Kris Carter

    I’ve not heard of that one – I’ll try it when the next previews go up (the old links have expired)

    George Kaplan

    <block quote cite=”The End is nigh…
    Series I, upscaled, re-titled, de-interlaced, pro-choice, non-unionised, hosed down and given a hat.
    August 1st on blu-ray.”> </block quote cite>

    Looking forward to this. Is it still being made available tomorrow?

    George Kaplan

    Ok. So we’ve established I don’t know how to do a blockquote.

    Like this

    August 1st, 2016.


    August 1st, 2017 – I swear to Christ.


    Would love to see the examples posted so far but the links are dead.

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