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Thriller 3D Update
- Thread starter wonderouzmj
- Start date
ChrisC
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I'm not sure the Estate would be comfortable about aligning Michael with a horror film that will be quite violent. I don't think they've picked the perfect film here, but I'm not sure I agree with your suggestions either.
Well I've seen a lot of people on Twitter saying they don't want to see the movie but want to see Thriller. Assuming this plays at my local IMAX, I will see it more than once and I will be leaving after Thriller everytime except the first viewing.
Having seen the trailer, I am astounded at the clarity of the image. However it wouldn't be the first time people are seeing this in HD is it? Didn't Thriller exhibit theatrically in 1983?
Is anyone concerned about the new SFX in the trailer? I don't recall many of them from the original Thriller...unless they're specific to the trailer. I'm also hearing something in score I didn't hear before.
Cineworld in the UK have confirmed that 'House' will be showing with them in IMAX - it remains unclear if it will go with Thriller. No word on Odeon, Vue etc.
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SmoothGangsta
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I won't be seeing this unless it's released on blu ray
ChrisC
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If the IMAX at the Science Centre gets it you should absolutely go. It's one of the largest IMAX screens in the world - really something to behold.
Themidwestcowboy
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That's not on the estate that's on Michael haha, it took the estate 3 years to release a full bad tour concert
Thriller looks amazing in 3D, I hope they release this on blu ray!
<blockquote class="twitter-tweet" data-lang="de"><p lang="en" dir="ltr">Y’all need to get y’alls asses in this theater for Thriller 3-D. Look at this shit right here!!!!!! I’m going two times and I’d go more if I wasn’t still in Japan when it started <a href="https://t.co/sDv6Gd11TG">pic.twitter.com/sDv6Gd11TG</a></p>— Ben Reilly (@TheROCFiles) <a href="https://twitter.com/TheROCFiles/status/1037846706333917186?ref_src=twsrc%5Etfw">6. September 2018</a></blockquote>
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
<blockquote class="twitter-tweet" data-lang="de"><p lang="en" dir="ltr">Current ‘Thriller’ vs. 2018 remaster.<br>One week in U.S theaters for such a brilliant restoration is not enough. Please release on Blu-Ray & upload on the official YouTube so that fans worldwide can enjoy for years to come! <a href="https://twitter.com/michaeljackson?ref_src=twsrc%5Etfw">@michaeljackson</a> <a href="https://twitter.com/MJonlineteam?ref_src=twsrc%5Etfw">@MJonlineteam</a> <a href="https://twitter.com/hashtag/RemasterMJInHighDefinition?src=hash&ref_src=twsrc%5Etfw">#RemasterMJInHighDefinition</a> <a href="https://t.co/oc5C5XKEgu">pic.twitter.com/oc5C5XKEgu</a></p>— MJJLegion ♕ (@MJJLegion) <a href="https://twitter.com/MJJLegion/status/1037853503794937856?ref_src=twsrc%5Etfw">7. September 2018</a></blockquote>
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
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<blockquote class="twitter-tweet" data-lang="de"><p lang="en" dir="ltr">Current ‘Thriller’ vs. 2018 remaster.<br>One week in U.S theaters for such a brilliant restoration is not enough. Please release on Blu-Ray & upload on the official YouTube so that fans worldwide can enjoy for years to come! <a href="https://twitter.com/michaeljackson?ref_src=twsrc%5Etfw">@michaeljackson</a> <a href="https://twitter.com/MJonlineteam?ref_src=twsrc%5Etfw">@MJonlineteam</a> <a href="https://twitter.com/hashtag/RemasterMJInHighDefinition?src=hash&ref_src=twsrc%5Etfw">#RemasterMJInHighDefinition</a> <a href="https://t.co/oc5C5XKEgu">pic.twitter.com/oc5C5XKEgu</a></p>— MJJLegion ♕ (@MJJLegion) <a href="https://twitter.com/MJJLegion/status/1037853503794937856?ref_src=twsrc%5Etfw">7. September 2018</a></blockquote>
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
<blockquote class="twitter-tweet" data-lang="de"><p lang="en" dir="ltr">Statement from the Official MJ Online Team in regards to a worldwide release of ‘Thriller 3D’ in <a href="https://twitter.com/IMAX?ref_src=twsrc%5Etfw">@IMAX</a> theaters:<br><br>‘IMAX will be announcing additional territories, but has not done so yet.’<br><br>So stay tuned, <a href="https://twitter.com/hashtag/MJFam?src=hash&ref_src=twsrc%5Etfw">#MJFam</a>. <a href="https://t.co/vtxuEFEK3k">pic.twitter.com/vtxuEFEK3k</a></p>— MJJLegion ♕ (@MJJLegion) <a href="https://twitter.com/MJJLegion/status/1037866921553797120?ref_src=twsrc%5Etfw">7. September 2018</a></blockquote>
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
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nextbigthing56
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I urge everybody to watch it on a TV as opposed to a phone. The quality seriously is amazing.
SmoothGangsta
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The quality is great but it's way too bright imo.
wonderouzmj
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Too bright? I think ur just used to mj having bad quality videos over the years to the point where this looks drastically different to what u been seeing. This is beautiful!
wonderouzmj
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This is straight magic. I pray all the other shorts get this treatment!
SmoothGangsta
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dam2040;4230333 said:
I feel like it's just an industry thing nowadays. They did it with the star wars blu ray as well. The colour was all wrong.
Galactus123
Proud Member
I really hope they have done the restoration well. I hope they haven't removed all the film grain because then a lot of detail is gone. Faces can look odd. Like what Fox did with Predator 2010 Blu-Ray. They made Arnold look like he was a wax figure. HD restoration can be done wrong easily:
barbee0715
Proud Member
It does look a little "gray-ish". But appropriate because it's night. And oh my gosh, it so nice and clear. Look at the middle picture-you can actually see Ola Ray!This is straight magic. I pray all the other shorts get this treatment!
SmoothGangsta
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Nah the brightness and colour s definitely off. You can even see in MJ's skin tone. I will probably still buy it if it's released on blu ray but yeah it's something I noticed.
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djvernon
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The reason why it's too blue on his skin can be the moonlight ???
wonderouzmj
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SO BASICALLY HE MIXED THE VIDEO WITH THE ALBUM VERSION. SO TO SOME OF US...ITS GONNA SOUND SO DIFFERENT. FOR ME WILL BE THE DANCE SEGMENT SOUND EFFECTS.
TAKE A READ
When Thriller's videoclip debuted at the Avco Theater in Los Angeles in 1983, he filled the room three weeks in a row.*Now, 35 years later, he debuted at the Venice Film Festival with audio mixed in Dolby Atmos surround sound.*
The sound engineer in charge?*The eight-time Grammy nominee Martin Nessi (Nessi has worked with artists such as Andrea Bocelli, Celine Dion, Josh Groban and Ariana Grande).*We talked to him about mixing 3D audio and using RX to restore the original Thriller's audio.*
How did you get the opportunity to work on the engineering and mixing of Thriller in 3D?
Michael Jackson Estate contacted one of Sony's executives and asked him who they thought was the right person to work on the new Thriller mix to update a 3D version for the video and Dolby Atmos for the Audio.*The executive recommended the producer and engineer Humberto Gatica.*
At the time, he was one of Thriller's engineers with Bruce Swedien.*They recommended him and he called me to work together.*
How would you explain in a simple way how it mixes in Atmos and how it differs from other types of sound?
In the surround sound we have 5.1, which is center, left, right and then two surround speakers plus a subwoofer.*Then there is the 7.1, which is left, center, right, surround left, surround right, surround left rear, and surround back right.*
Now there's Dolby Atmos.*Dolby Atmos is basically atmospheric audio with*
3D sound.*They want to make you feel inside the sound.*
The main audio arrives in 7.1, as I explained.*It also has audio objects, which come from other speakers placed on the ceiling and walls.*Basically you need to have a minimum of four speakers to be considered Dolby Atmos, but if you go to Hollywood Dolby Cinema, I think they have about 120 speakers or more.
For those objects, there is a Dolby Atmos plugin in Pro Tools that is like a 3D panelado.*Basically you move the panel where you want to place the objects to put them in 3D space.*
Mixing Thriller in Atmos, what could you achieve for the viewer that has not been heard before in environments such as 5.1 or 7.1?*
There are many things that are not "heard" in the stereo version of the song.*You feel them, but you can not hear 100% of them clearly.*Now in 7.1, you can listen to each completely separate component in the listening field.*
Then you have to add all the other things that are playing in the video, like sound effects and zombies.*A lot of work has also been done on the video itself.*It's Thriller on steroids.
What were the biggest challenges when it came to restoring the audio of the project?*
The people of Sony sent us what they thought was the digital multitrack of Thriller from many years ago.*Basically they had taken all the tapes (masters and copies), and had passed them to Pro Tools.*Most of the sessions of all those artists of the time are already passed to Pro Tools for their file.*
They sent us a session, which is what they thought was the master used to mix Thriller.*When he opened it, I realized that there were elements that did not make sense when playing together.*For example, all the batteries were in a stereo track, etc.*I realized that they were not the masters used for the final mix.
What's more, I confirmed it with Humberto, who had worked on the original project.*I showed him the Pro Tools session and confirmed that it was not the multitrack master that was used for the mix.*
Suddenly I remembered that several years ago I had read in a magazine that Mick Guzauski said that he had mixed the Thriller album in 5.1, when Michael was still alive.*I suggested that they contact him to see if he knew where to get it.*The next day they sent it to us from Sony.
It is important to clarify that I speak of the multitrack of the song, not the video.*I knew I had to create a video multitrack because if I mixed the song as it was, it would not work, I had to start editing each track so that it would occupy the entire duration of the video.*I had to synchronize it with the images.*The problem is that when you automate it to the visual, you have to be able to do it looking at the images, so I decided to create a multitrack of the video using the multitrack of the song.*
I started creating that multitrack, but if you remember, the video is not lyrics, lyrics, chorus, lyrics.*They are three parts of the lyrics and then an interlude and then the part of James Earl Jones * saying "The Thriller ..." and then the chorus repeated a couple of times.*
[* Translator's note: Nessi is confused with Vincent Price]
What I discovered when I started working on it is that the speed of the multitrack was different from the speed of the song in the video.*That could happen for two reasons.*One is that the song could have been accelerated during the mastering.*When a production is done and the producer has already finished his work, he might have thought, "Wow, this could go a little faster."*Instead of redoing everything, they finish the production and when mastering it they speed up the final mix a bit so nobody would have known it, but the multitracks are different, usually slower.
The other option is that it would have been accelerated for the video.*For me, it does not make sense to accelerate it for the video because if people watched the video and had already listened to the song on the radio, they would think "How? This rhythm is not the same".*I think they accelerated when mastering.*When I saw it I thought, "Wow, this is going to be interesting" because I had to synchronize the multitrack to a video that had a faster version of Thriller.*
Basically I had to map the tempo of the multitrack beat by beat from start to finish and then map the tempo of the video.*After doing it in the video, I started creating the multitrack.*
The moment I began to place the elements in the video's tempo mapping, at whatever speed, it was automatically adjusted to the tempo map.*That was the first forensic difficulty.
When you start looking at the tracks, you could see that they had the typical hiss of the tapes.*The editions were not precise in some aspects because they are parts that were not going to sound loud or you literally had to cut the tape.*There was no "undo" function in those times.*
Sometimes you saw that a part had been cut off from the tape, so I started to clean those parts, and then on many different tracks you could hear the audio from the background headphones, that's when the iZotope RX came into play.
I started using it a lot to fix almost all the problems, because I knew that, when the time came to make it sound in Dolby Atmos, with so many speakers, there would be a lot of possibilities for sounds and other non-musical artifacts to sound.*I had to make sure that each track was 100% perfect, because when you start to make everything bigger in the place where it will sound and each track is more exposed, each of the elements would be more nude, as if we saw it with a magnifying glass , and that includes those unnecessary noises or artifacts.*This was the biggest challenge from the forensic point of view, and would have been impossible without using RX.*
You mention hiss and tape cuts.*Does the RX have modules that you find especially useful for that particular job?
I used most of the modules, to be honest.*A lot of Spectral Repair as well as De-Noise and De-Click.*It depends on what needs to be done, but I usually find solutions in RX.*
Anything else you want to mention about the repair or mixing of Thriller 3D?*
We started mixing in stereo because we were not going to present ourselves in a Dolby Atmos studio to get sounds or things like equalization, compression, reverberations, delays, etc ... We did the mixture of Atmos in Dennis Sands' studio.*He mixes soundtracks.*He works with Danny Elfman, has been nominated for the Oscars, and has a private studio of Dolby Atmos in Santa Barbara.
First we mix in stereo using an analog console, as well as with a lot of different plugins.*I used Nectar for one of the reverberations of the voice.*I tried to use reproductions of the same reverberations that Bruce Swedien should have used, but I could not make them sound the same.*Finally I got it with a modified Nectar patch.
After mixing in stereo, I created component house tracks.*For some tracks I had to make more than one shot.*For example, for the main voice, I had to do it in several.*One for the voice as such and one for the reverberations.*Maybe I divided those reverberations into one or two more shots to have more control.*The delays also had their clue.*When we arrived at the Dolby Atmos stage with Dennis, we could have control over where to place each element of the mix and change the volumes of the effects, because it is important.*When mixing in stereo, the reverberation and delays are hidden behind the other elements of the mix, but when you put it in Dolby Atmos, suddenly the listening field is "ten times" larger and everything is more open and exposed, including the effects.
The mix did not change much from the stereo to Dolby Atmos, but you have to have that flexibility because if not, you end up with a mix that does not represent your original vision.*It also allows you to take your vision further, without worrying about basic sounds and balances.*You are creative when it comes to placing the musical components of the song (...) After mixing in Dolby Atmos we went to a Universal Pictures venue to work with the team.*Specifically with Jon Taylor.*I was there for a couple of days to make sure that the mix we made was transferred properly to the video.*After the balances were not lost by other sound elements of the video.*And many more things.*In Universal everything was greater and, therefore, more exposed.*During the process we had to use the RX a couple of times more.*
TAKE A READ
When Thriller's videoclip debuted at the Avco Theater in Los Angeles in 1983, he filled the room three weeks in a row.*Now, 35 years later, he debuted at the Venice Film Festival with audio mixed in Dolby Atmos surround sound.*
The sound engineer in charge?*The eight-time Grammy nominee Martin Nessi (Nessi has worked with artists such as Andrea Bocelli, Celine Dion, Josh Groban and Ariana Grande).*We talked to him about mixing 3D audio and using RX to restore the original Thriller's audio.*
How did you get the opportunity to work on the engineering and mixing of Thriller in 3D?
Michael Jackson Estate contacted one of Sony's executives and asked him who they thought was the right person to work on the new Thriller mix to update a 3D version for the video and Dolby Atmos for the Audio.*The executive recommended the producer and engineer Humberto Gatica.*
At the time, he was one of Thriller's engineers with Bruce Swedien.*They recommended him and he called me to work together.*
How would you explain in a simple way how it mixes in Atmos and how it differs from other types of sound?
In the surround sound we have 5.1, which is center, left, right and then two surround speakers plus a subwoofer.*Then there is the 7.1, which is left, center, right, surround left, surround right, surround left rear, and surround back right.*
Now there's Dolby Atmos.*Dolby Atmos is basically atmospheric audio with*
3D sound.*They want to make you feel inside the sound.*
The main audio arrives in 7.1, as I explained.*It also has audio objects, which come from other speakers placed on the ceiling and walls.*Basically you need to have a minimum of four speakers to be considered Dolby Atmos, but if you go to Hollywood Dolby Cinema, I think they have about 120 speakers or more.
For those objects, there is a Dolby Atmos plugin in Pro Tools that is like a 3D panelado.*Basically you move the panel where you want to place the objects to put them in 3D space.*
Mixing Thriller in Atmos, what could you achieve for the viewer that has not been heard before in environments such as 5.1 or 7.1?*
There are many things that are not "heard" in the stereo version of the song.*You feel them, but you can not hear 100% of them clearly.*Now in 7.1, you can listen to each completely separate component in the listening field.*
Then you have to add all the other things that are playing in the video, like sound effects and zombies.*A lot of work has also been done on the video itself.*It's Thriller on steroids.
What were the biggest challenges when it came to restoring the audio of the project?*
The people of Sony sent us what they thought was the digital multitrack of Thriller from many years ago.*Basically they had taken all the tapes (masters and copies), and had passed them to Pro Tools.*Most of the sessions of all those artists of the time are already passed to Pro Tools for their file.*
They sent us a session, which is what they thought was the master used to mix Thriller.*When he opened it, I realized that there were elements that did not make sense when playing together.*For example, all the batteries were in a stereo track, etc.*I realized that they were not the masters used for the final mix.
What's more, I confirmed it with Humberto, who had worked on the original project.*I showed him the Pro Tools session and confirmed that it was not the multitrack master that was used for the mix.*
Suddenly I remembered that several years ago I had read in a magazine that Mick Guzauski said that he had mixed the Thriller album in 5.1, when Michael was still alive.*I suggested that they contact him to see if he knew where to get it.*The next day they sent it to us from Sony.
It is important to clarify that I speak of the multitrack of the song, not the video.*I knew I had to create a video multitrack because if I mixed the song as it was, it would not work, I had to start editing each track so that it would occupy the entire duration of the video.*I had to synchronize it with the images.*The problem is that when you automate it to the visual, you have to be able to do it looking at the images, so I decided to create a multitrack of the video using the multitrack of the song.*
I started creating that multitrack, but if you remember, the video is not lyrics, lyrics, chorus, lyrics.*They are three parts of the lyrics and then an interlude and then the part of James Earl Jones * saying "The Thriller ..." and then the chorus repeated a couple of times.*
[* Translator's note: Nessi is confused with Vincent Price]
What I discovered when I started working on it is that the speed of the multitrack was different from the speed of the song in the video.*That could happen for two reasons.*One is that the song could have been accelerated during the mastering.*When a production is done and the producer has already finished his work, he might have thought, "Wow, this could go a little faster."*Instead of redoing everything, they finish the production and when mastering it they speed up the final mix a bit so nobody would have known it, but the multitracks are different, usually slower.
The other option is that it would have been accelerated for the video.*For me, it does not make sense to accelerate it for the video because if people watched the video and had already listened to the song on the radio, they would think "How? This rhythm is not the same".*I think they accelerated when mastering.*When I saw it I thought, "Wow, this is going to be interesting" because I had to synchronize the multitrack to a video that had a faster version of Thriller.*
Basically I had to map the tempo of the multitrack beat by beat from start to finish and then map the tempo of the video.*After doing it in the video, I started creating the multitrack.*
The moment I began to place the elements in the video's tempo mapping, at whatever speed, it was automatically adjusted to the tempo map.*That was the first forensic difficulty.
When you start looking at the tracks, you could see that they had the typical hiss of the tapes.*The editions were not precise in some aspects because they are parts that were not going to sound loud or you literally had to cut the tape.*There was no "undo" function in those times.*
Sometimes you saw that a part had been cut off from the tape, so I started to clean those parts, and then on many different tracks you could hear the audio from the background headphones, that's when the iZotope RX came into play.
I started using it a lot to fix almost all the problems, because I knew that, when the time came to make it sound in Dolby Atmos, with so many speakers, there would be a lot of possibilities for sounds and other non-musical artifacts to sound.*I had to make sure that each track was 100% perfect, because when you start to make everything bigger in the place where it will sound and each track is more exposed, each of the elements would be more nude, as if we saw it with a magnifying glass , and that includes those unnecessary noises or artifacts.*This was the biggest challenge from the forensic point of view, and would have been impossible without using RX.*
You mention hiss and tape cuts.*Does the RX have modules that you find especially useful for that particular job?
I used most of the modules, to be honest.*A lot of Spectral Repair as well as De-Noise and De-Click.*It depends on what needs to be done, but I usually find solutions in RX.*
Anything else you want to mention about the repair or mixing of Thriller 3D?*
We started mixing in stereo because we were not going to present ourselves in a Dolby Atmos studio to get sounds or things like equalization, compression, reverberations, delays, etc ... We did the mixture of Atmos in Dennis Sands' studio.*He mixes soundtracks.*He works with Danny Elfman, has been nominated for the Oscars, and has a private studio of Dolby Atmos in Santa Barbara.
First we mix in stereo using an analog console, as well as with a lot of different plugins.*I used Nectar for one of the reverberations of the voice.*I tried to use reproductions of the same reverberations that Bruce Swedien should have used, but I could not make them sound the same.*Finally I got it with a modified Nectar patch.
After mixing in stereo, I created component house tracks.*For some tracks I had to make more than one shot.*For example, for the main voice, I had to do it in several.*One for the voice as such and one for the reverberations.*Maybe I divided those reverberations into one or two more shots to have more control.*The delays also had their clue.*When we arrived at the Dolby Atmos stage with Dennis, we could have control over where to place each element of the mix and change the volumes of the effects, because it is important.*When mixing in stereo, the reverberation and delays are hidden behind the other elements of the mix, but when you put it in Dolby Atmos, suddenly the listening field is "ten times" larger and everything is more open and exposed, including the effects.
The mix did not change much from the stereo to Dolby Atmos, but you have to have that flexibility because if not, you end up with a mix that does not represent your original vision.*It also allows you to take your vision further, without worrying about basic sounds and balances.*You are creative when it comes to placing the musical components of the song (...) After mixing in Dolby Atmos we went to a Universal Pictures venue to work with the team.*Specifically with Jon Taylor.*I was there for a couple of days to make sure that the mix we made was transferred properly to the video.*After the balances were not lost by other sound elements of the video.*And many more things.*In Universal everything was greater and, therefore, more exposed.*During the process we had to use the RX a couple of times more.*
KOPV
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I am curious, and it will be nice to see the crisp footage as well as a different take in the sound.. that blue tint is off though! They may have struggled getting all colors to pop while keeping each other true.. that is an issue when filming in a dark setting with vibrant colors like red/yellow and trying to keep them true.. other tints tend to not be so perfect.
SmoothGangsta
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Complaining about people complaining is always a good thing and not at all annoying.
dam2040
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A.K.A don't have a negative opinion about the dear old Estate or anything they do so we can get more subpar releases.
I'm sorry but this looks way to blue and the colours are a lot colder than the original. I don't see how you can deny that. The way they butchered the original track's audio to match the video doesn't leave me with high hopes either. Some reported they even played the wrong audio during one of the 'Scream' showings! I need to see it for myself but this clip doesn't look great. Sure, the quality is better but the colours are wrong.
travis3000
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I will say, the image looks fantastic. How some of you even get through each day is beyond me with this unfounded negativity. These images looks not ten but a HUNDRED times better. More crisp, more colour, more brightness. It looks unreal, and they did a great job. I am so excited to see this in IMAX!
SmoothGangsta
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I wouldn't consider it butchering. It legitimately had to be done this way.
Amaya
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I actually kinda agree that it is a wee bit too bright... although I get the feeling it won't be so bad after all in the actual movie. In terms of image clarity it looks amazing.
My only complaint about all of this is that you have to buy a ticket for some other movie in order to see this... a $20 ticket nonetheless. I know I can just leave before the main movie but still... Not to mention that despite there being a few IMAX theaters near me, this is only being shown at ONE of them, and it's in a rather sketchy part of town. -_- I may just wait for a BD release.