Star Wars: The Despecialized Edition, also known as Harmy's Despecialized Edition is a fan-created film preservation of the original Star Wars trilogy films: Star Wars (1977), The Empire Strikes Back (1980) and Return of the Jedi (1983). It is a high quality replica of the out-of-print theatrical versions, created by a team of Star Wars fans with the intention of preserving the films, culturally, and historically. The project was led by Petr Harmáček, then an English teacher, from Plzeň, Czech Republic under the online alias Harmy.
prometheus 1080p special edition fan edit
DOWNLOAD: https://tlniurl.com/2vFnUi
As a derivative work, Harmy's Despecialized Edition cannot be legally bought or sold in the United States and other countries with treaties respecting US copyrights, and is "to be shared among legal owners of the officially available releases only".[1] Consequently, the films are mainly available via various file sharing methods. Reaction to the project has been positive, with critics generally praising the quality and aesthetics of the work.
Most of the source material used for Harmy's Despecialized Edition was taken from Lucasfilm's official Blu-ray release of the films in 2011, while other sequences were upscaled from previous home video releases.
Harmáček was assisted by a group of like-minded fans from the website OriginalTrilogy.com. In total, they estimated that the project took thousands of hours of work between them.[10] In 2011, one year after the project had begun, the first version of Harmy's Despecialized Edition was published online;[15] new and updated versions were created regularly in the five years that followed.[5] As of October 2021[update], the most recent versions of Star Wars, The Empire Strikes Back and Return of the Jedi are v2.7, v2.0 and v2.5 respectively.[11][16] As a result of the project, Harmáček was able to quit his teaching job and in 2015 was hired by UltraFlix to prepare and restore a library of 4K-encoded films for sale and rent. He has since joined UPP, a Prague-based VFX house, as a 2D digital compositor and worked on such projects as Blade Runner 2049, Wonder Woman, and AMC's The Terror.[3][7]
The legality of downloading Harmy's Despecialized Edition is contentious.[2] As a fan edit, the cut cannot be legally bought or sold, and treads a line between fair use and copyright infringement.[17] OriginalTrilogy.com states that the edits are "made for culturally historical and educational purposes" and that they are "to be shared among legal owners of the officially available releases only".[7] Consequently, the films are only available via various BitTorrent trackers and through specialized rapid download programs using file sharing sites.[4][18] Harmáček himself remarked: "I'm convinced that 99% of people who download this already bought Star Wars 10 times over on DVD."[11] As of 2015[update], he had received no legal challenge from Walt Disney Studios Motion Pictures, the owner of Lucasfilm and 20th Century Studios, over the Despecialized Edition.[10]
Star Wars 4K77 is a fan project to scan and restore original 35mm prints of Star Wars from 1977. The project name refers to the 4K resolution used and the film's release year of 1977. In 2016, a few 35mm prints were located and donated to a group of fans called "Team Negative 1" (TN1), who scanned these prints at 4K resolution. TN1 released the film online in May 2018, first in the form of a 4K UHD file and then a 1080p downscale. According to the Project 4K77 website, 97% of the restored video came from a single print that was dubbed in Spanish, with the remainder from an alternate print and some frames upscaled from the official Lucasfilm Blu-ray.[21]
Reaction to Harmy's Despecialized Edition has been universally positive. Writing for Inverse, Sean Hutchinson placed it at number one on his list of the best Star Wars fan edits, and described it as "the perfect pre-1997 way to experience the saga".[5] Whitson Gordon of Lifehacker called the edits "the best version of Star Wars you can watch", and named them "the version of Star Wars we've all been clamoring for the last 20 years".[4] Similarly, Nathan Barry of Wired praised the films as "an absolute joy to watch",[13] while Gizmodo described them as "very, very good".[15] In an article listing Ars Technica's favorite Star Wars items, Sam Machkovech selected Harmy's Despecialized Edition, calling it "a treat".[18]
The Art and Making of Alien Covenant includes incredible artwork and practical suit designs. The lack of budget, which is another thing I cannot understand, especially given how well PROMETHEUS did, appears to have taken its toll on the final screen look of some of the creature designs.
To see the differences, another 2016 YouTube video shows a side-by-side comparison of the same battle as shown in both the 1997 Lucas special edition and the de-specialized edition. A quick watch of that video shows how little was really changed in this part of the film, as opposed to, say, a previously deleted scene with Han Solo that was revived by Lucas in 1997 to include the swashbuckling smuggler stepping on the tail of a comically reactive Jabba the Hut. (Please make that scene go away, George. Seriously.)
The second problem with this is when trying to photograph different subjects that are at very different depths (especially noticeable when shooting near the long end of this lens). The distance difference between a tackle right in front of me on the sidelines and the referee on the far end of the field was so great that swinging the camera from one to the other would show an image completely obscured by blur; I half-pressed to rack the lens to the proper range, then had to cancel tracking, and then re-initiate it on the subject I wanted to track in the first place. It got a little old.
Panasonic never did let me have a GH5 for long enough to run moire and aliasing tests, as my GH4 is amazing for that in 4k (although poor in 1080p, my FF Canon is considerably better). My concern about the GH5 is that moving from a "one sensor pixel per video pixel" to a small amount of scaling can often produce aliasing/moire issues (a greater amount of scaling tends to work better), so I'd suggest to look for that.My RX100V does 4k by scaling from all the pixels of its 20MP sensor (well, those in the 16:9 crop) and it's really pretty good, but not up to the GH4 in 4k. (I doubt anyone would be unhappy.)If I ever get a GH5 for long enough I'll test it, but I held off buying one as I didn't want a step back on that issue.
Video super champ. Not cheap, but worth it, I suspect, for pro-videographers, especially those who have bigger Panasonic systems and what something more portable for particularly rough field conditions...
@57even Generalized tools that can do more things well is more cost effective to produce then specialised tools that only do one thing well because economies of scale. That is why even stills oriented cameras have video function because its manufactured with to have the widest possible market at the lowest possible cost. I work in this industry so I know. The you should not pay what you don't use philosophy simply do not apply in this industry.
The reality here is companies who cater to purists tend to charge higher not less for specialized tools. Did Nikon charge less whe they released the still focused DF? No they slapped a premium instead. Look at Leica and the digital medium format brands. Look how much you need to pay for dedicated pro cameras like the Canon c300.
The pricing policy of camera companies is their problem, but there is no innate reason why you cannot make specialised versions of the same basic components and products, but tune them for different users. Car companies do it all the time. So does Sony with its three full frame models.
I wonder why they don't have such lower ISO as an option. Would it hurt video quality? The G85 doesn't even allow ISO 100 for video, which is ridiculous, especially when you're a newbie trying to shoot video in the middle of the day in Miami without an ND filter! Its just not possible in that situation to avoid aperture diffraction and/or overly fast shutter speeds. That was me a few months ago...
Nowadays scifi special effects, 3d anmation etc, dominate so many films, that for for me it has become humdrum even though I was totally into holography and 3D animation since it began, making my own holograms and later learning Softimage 3D and earlier software since the beginning of Personal Computing. Now, I'm not amazed. (Contd)
@marcio_napoli (contd) at 5 yr old when I first saw "This is Cinerama," I was hooked on immersive, latest technology movies. Nowadays I can't stand IMAX, or 3D, especially if it was digital to begin with so I pass on all that
Both of us are after special nuances, subtleties, we care a lot about "look". In my usual posts about photography, I'm constantly annoying the rest of the forums saying how much I miss CCD, and the overall rendering of old school cameras (I recently bought a Nikon D2x and wrote a quite polemic post on the Nikon forum, mainly saying who much I'm also allergic to the rendering from modern sensors).
Well my Em1.2 for single shot AF is not as fast as my GH4 so I guess you have an answer there. Well this is especially true in low light. Nothing bad, the GH4 is just so fast. Em1.2 is just a tiny bit less fast and less decisive but with some lenses (I think 20 mm f1.7) the difference IS notable. I tested it 4 months ago so this is from memory.IQ: will be the same in RAW. Essentially. Oly has HiRes mode so if you can use that which is especially for landscapes etc true well that difference is as big as it can get actually. Also it has a lot lot less noise. 1600ISO is about as clean as ISO200. What would be interesting is C-AF with tracking etc. I like dhte GH4 already a lot but here the EM1.2 with birds etc indeed is better. Faster of course but also more accurate.In total I would say that for the money and if you are a hybrid shooter the Panasonic wins this. Better EVF, easier to learn with better menu's according to most people. But I am surely not going to switch. 2ff7e9595c
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