NL197

It was always strange to me, that whenever the Blu-ray bonus features cut to scenes from their films, they were HD, but without the DNR. Generations was obvious. It had grain and more natural colors in the extras than the film itself.

First Contact? Excellent. The Blu-ray for that, Generations and Insurrection look terrible, just as Voyage Home does especially (DNR'd to hell and back)

Funny...I just did it with my file: https://drive.google.com/file/d/1Tty9HdxhLNBgyHYqD3f2IiOMDlKpPgCa/view?usp=sharing I "potted" mine to work with the dialogue, though.

Thank you. The only answer I can give you is that I used to matter a tiny bit once. Maybe I will again one day, though I doubt it.

Had to be one of those outer space establishing shot flybys. Collaborative effort, friend of mine and I mocking that up. I can do that, unless someone beats me to it. I'll use the original file I made, not a rip of that video.

@Jay

Prior to the 2009 album, the only way to hear some of the OST cues without that 3D surround crap (called "B.A.S.E.") was to get an album called "Star Trek: The Astral Symphony" https://www.discogs.com/Various-Star-Trek-The-Astral-Symphony/release/1057838 The reason I called it faux 3D surround is because the sound is what you get if you had old computer speakers or an old stereo / headphones with that 3D surround button / feature you could turn on and off. It made stereo music sound 'wider' by diffusing it to such a degree it was almost mono. Combine that with the shrill Dan Wallin recording and you get that GNP album's sound. So abrasive a listen.

The original GNP release….It was awful sounding with that faux 3D surround effect that ruined the stereo image. Made the whole listen very shrill and hollow. Just terrible.

Dead sure, because I made a "center channel album" and shared that years ago. I know my own 'work' lack of a better term. I'll even DM you the rest of it. I took the 5.1 DTS CD, and then years after that the 5.1 SACD, and broke it down to its individual channels. The way the score was mixed, there are no electronics (save for the chimes) in the center channel of the mix, and therefore no synth choir. As the center is obviously mono, I added reverb to make it faux-stereo. The reason for the click track is because it's a cue that relied so heavily on the synth choir. Not something to just go free-time the way Horner preferred to record his music with the orchestra. Another fun side effect of the way it was mixed, is that the choir was not mixed for surround. It was just mixed for stereo and was 'copied' to the rear channels of the mix. It's slightly out of sync in the rear channels so if you mix them down, cues like "Leaving Port" sound out of phase / hollow but if you carefully correct the sync, you can eliminate the choir almost entirely.

Someone took a version of the album I did (using the 5.1 mix of the OST) and put this onto YouTube. This is literally just the center channel of that 5.1 mix that I added some reverb to to fill it out to make it a faux stereo.

It's a pretty intense film for a Disney 80s movie. I recommend it. John Cusack and Ray Wise co-starring, can't go wrong.

#SnyderCut #demblackbars #YeFisherNeedsToShutUp

I found it better as Al Bathra. Easily my favorite Horner action cue. The Titanic trailer used a combination of that and Monfriez's Suicide. That had to be intentional since the film paralleled that music.

It’s interesting, because it actually started the year before that in Courage Under Fire with three notes and expanded it into its own theme. (The cue “Night Mutiny” is a good standalone version of the idea but it’s in others as well) It served as a sort of darker tension kind of device. Titanic narrowed it to two notes.

Leaving of Liverpool was a good reference. Not only for a good melody, but for Titanic itself given its history. Oh, bumping Braveheart posts are TIGHT! I don't even think it matters what anyone's favorite Horner from 1995 was, because it was such a great year for his music all around ya can't go wrong. (I actually do enjoy JADE a lot. It's not my favorite of that year, but I enjoy the whole thing. Much of it is found in Braveheart anyway!)

JADE.

Barely, but I know what you mean. 2:56, or 3:12, or 4:00 (repeating example of what you mean) of this Isle of Hope song. It reminds you of this at 3:45: But it's such a minor little thing though.

48 Hrs was released by Intrada (with different takes compared to the film in at least one cue) and later ended up on iTunes for about a minute, while ANOTHER 48 Hrs didn’t get the isolated score and is only out as that 1990 OST. I’m sure release status plays a part.

Horner did unused trailer music for Casper, did partially used music for Titanic, both on their expanded LLL releases. He also wrote unused trailer music for Cocoon, but I don’t know if it was recorded.

Since I made my own custom version of the album, even adding in a bit of material left off the LLL (very minor), I did these a few days ago using the original font from the film's end titles.

and some scores are numbered M1, M82, M116, etc. If there's any rhyme or reason to changing them up so it's either 9M1, or R9P1, or M90-whatever, I don't know what it is. Then there's a rare one like Titanic, which just uses scene numbers: Sc034-R Southampton (Revised) Sc273-R A Promise Kept (2nd Part Revised)

And then there's things like 4M4R, R for "Revised", or 6M1A, like "Alternate", meaning the cue was changed in some fashion or totally re-written to accommodate a change in the scene's musical needs, or 2M7s, the S usually for a song / source cue.

Yeah the Intrada version had such a wildly (improvised) sax line that was really out there. The boot version was the film version.

Doubt the sequel would, but I hope I'm wrong. There was never anything beyond the OST. The first one ended up on iTunes for about a minute (the Intrada release, just rebranded)

VIC FONTAINE!