pragmatic use of DVD format with iTunes

Usually I've only converted DVDs a few at a time to work inside iTunes, so it was my recent short blitz of about 30 DVDs that made me take a little more notice of the format.

My pragmatic view is that it is still 'good enough' for many movies, even though there's increasing HD streaming and the declining Bluray as alternatives.

Traditional European PAL standard television has 625 lines of which 575 are used to make the actual picture, with the rest for controls and suchlike. The Americans use NTSC which uses 525 lines of which 483 are used to make the picture.

As a consequence, PAL DVDs are usually either 576 or 540 lines in their source definition. The normal width is 720 pixels, making a total pixel count of around 400,000 or 0.4megapixels.

In practice, the width is often stretched to make the wide-screen formats which mostly show up on television as 16:9. The original widescreen movie formats with 35mm film stock use anamorphic lenses to compress the image widthways and then have it stretched back out when projected in a cinema. See the squashed looking car below...

Otherwise, only a small part of the film frame would be used when making the movie.

Television/computer playback uses a similar trick, stretching letterbox and widescreen formats so that they look right on replay.

That's how systems like Panavision worked and the technique persists to this day, although increasingly with digital filming, the sensor ratios can be adjusted for the format.

It also means that home entertainment systems have to handle upscaling from the standard definition format, so that the picture isn't just a small rectangle in the middle of the screen.

Ever since the old cathode ray tubes gave way to flat panels, the number of available pixels (lines and columns) has been increasing. The commonest 1080p HD format has, yes, 1080 lines instead of 575. Blu-ray goes to 1920 across × 1080 lines of pixels. The newer 4k is 3840 x 2160 (8 megapixels) and 8k is 7680 × 4320 (33.2 megapixels). Naturally, as the pixels increase, so does the replay bandwidth requirement.

Confusingly, digital cinemas have either 2K cinema screens (2048×1080 or 2.2 megapixels) or 4K cinema (4096×2160 or 8.8 megapixels). And IMAX? It's often a projection of 70mm film although they are also using doubled up 2k projectors nowadays.

Whew.

So back to my conversion of DVDs. Tradeoff of content, quality and convenience.

I'll simply preserve the original quality of the DVD. That means the maximum I can squeeze out of the DVD is 720x576. With anamorphic conversion this goes up to generally a maximum of 1080 across. The rest becomes a function of the upscaling available on the playback equipment. 15 minutes to convert, auto-catalogue with MetaZ, adding the 1.3Gb image size with 5.1 sound to iTunes.

And you know what? For practical day-to-day viewing at normal distances, the DVD quality still seems fine as a tradeoff between quality and convenience. Wanna see that old favourite movie again? Yes, it's here and right now.

Of course I'll still watch movies in higher definition from streaming or occasional Bluray (weird that it auto-corrects to blurry?) and I'll sometimes notice the difference for the first few minutes. Then the story kicks in and with a few exceptions, the technical wizardry isn't as significant.

cross referencing the 'top 250' movies

A bit of fun with movies.

After I added my recent DVD acquisitions to iTunes, I thought it would be interesting to see if there were any obvious gaps in 'popular' coverage, based on films I've seen rather than ones that I own.

The IMDb database is a good starting point which, whilst it may have a populist and perhaps slightly American bias, still gives a useful list of a top 250 movies 'of all time'.

They've used a Bayesian weighted voting formula of their regular voters to create this top 250, as follows:

weighted rating (WR) = (v ÷ (v+m)) × R + (m ÷ (v+m)) × C

Where:

R = average for the movie (mean) = (Rating)
v = number of votes for the movie = (votes)
m = minimum votes required to be listed in the Top 250 (currently 25000)
C = the mean vote across the whole report (currently 7.0)

I guess it is based upon access to movies rather than a fully critical viewing and The Shawshank Redemption in the number 1 spot might have been aided by it being given away free as a DVD in various publications.

It's not close to my personal ranking (e.g. it has The Good, The Bad and the Ugly in the top few), but it's still a useful starting point to check for obvious gaps in what I've seen.

As well as the ranking uncertainties, there's only a few foreign language movies in the list, which might skew the European variations. To get a flavour, the top few movies are as follows:


Weirdly, when I recently snapped some DVDs to illustrate a post, three of the randomly included movies were The Godfather trilogy, Pulp Fiction and The Black Knight. Another one visible is the Swedish version of 'Let the Right One In', so I can honestly say it was pure co-incidence that I hit 4 of the top 5.

I regard this ever-evolving Top 250 list as a light guide more than anything.

There's a few films with colons in their titles (franchises) and the recent Whiplash, Boyhood and Kingsman are already tripping their way into the chart. There's also some classics like Casablanca, 12 Angry Men, City Lights and Vertigo, a few British crime movies like Snatch but, for example, no Ealing comedies.

I copied the Top 250 into a spreadsheet, to look for any obvious gaps in my own viewing. But I don't think I'll be attempting my own alternative selection...

adding some indie movies to my iTunes library using Handbrake and MetaZ

I was recently reminded by blogger Naomi that my DVD player can support multi-region DVDs. Useful if I really want to see something that isn't available in the UK. Mostly, our DVD player hardly gets used because of online films, but I did that thing to get it to work properly for all-region playback again.

It made me think about getting a few more movies that were on my 'want-to-view' list but which were not available on any of the streamed services.

I hit eBay and to my surprise found a random bundle of around 30 DVDs which were nearly all ones I wanted to see. It looked far more curated than most of the eBay 'job-lot' collections which are suspiciously like the unsellable ones from a car boot sale.

So I took the plunge and bought the inexpensive bundle. It turned out the fella selling them was on a meditation retreat somewhere, so they took about three weeks to arrive. Now I've a fresh selection of recent and mainly indie film titles to work through.

I'll add them to my iTunes library as well, so a spot of Handbrake + MetaZ is required to get them converted.

The thing about that particular combination is that it can make the videos looks the same as others downloaded from the iTunes Store, complete with the plot precis, actor and production credits, certificates, run-times etc.

I mainly convert videos on the Mac using Handbrake's 'Normal' setting. It nearly always finds the correct DVD track of the main movie and a couple of decent soundtracks (2 channel and 5.1). Occasionally a movie with a Theatrical and a Director cut will cause it to ask which one to use.

If there's subtitles, dubbing or a director's commentary (like some Swedish films that have an alternative English language dubbed soundtrack, or foreign films requiring subtitling) then there's usually a customisable combination, although for most movies there's no need to tinker with any of the settings.

MetaZ can be run after conversion and adds the same information that the iTunes store includes. It's slightly more fiddly with a TV series, although Handbrake happily handles multiple episodes on the same DVD.

The end result seems to me to be indistinguishable from the iTunes layout, and the video quality can be at the highest level available from the original DVD.

It's a handy way to keep videos catalogued, compared with having them laying around in cupboards and shelves and makes them available on demand, from any device including when I'm stuck on the bike turbo.

Which reminds me...

a DVD helps me find the counter-poison in Cosmopolis

A couple of recent evenings out have created some music and film swapping moments. A few of us emailed quick lists of recent music we liked - it gave me some new ideas as a result.

Separately, a different group of us exchanged a single DVD with one another. I received Cosmopolis, which is the 2012 Cronenberg movie adaptation of the Delillo novel. Someone else got Lady and the Tramp.

I read Delillo's book a few years ago, which I remember as a sort of road-tripping life-loop compressed into a single journey.

I hadn't seen the movie, which stars Twilight's Robert Pattison playing Eric, a different kind of blood-sucker.

The focus is a 28 year old billionaire in a white stretched limousine crossing a road-blocked Manhattan to get a haircut. He's received a death threat. The soundproofed limo is configured like a gleaming space capsule and on his journey he meets his wife, lovers, his art advisor, a doctor and colleagues as well as going through the asteroid shower of an 'Occupy Wall Street' type demonstration.

Many of Eric's reactions appear as automaton-calculations, challenging the notion of richness and smartness being linked. A quarter second of a real shared glance could violate the agreements that made the city operate.

The immersive numbers soup echoes current global trading where markets are tweaked and debts offloaded to unwitting consumers.

“Look at those numbers running. Money makes time. It used to be the other way around. Clock time accelerated the rise of capitalism. People stopped thinking about eternity. They began to concentrate on hours...using labour more efficiently.”

As various brainiac accomplices of Eric briefly join him in the car, there's only a fuzzy understanding of the way the markets work. The machine algorithms rule the organic charts. No shoeshine story, but a 24 year old who briefly joins him has had enough and wants to get out of the markets.

From a book written in 2003, there's plenty for 2015. Take falling energy markets where oil slid from $130 to around $60 per barrel. Everyone trades with all the right software. Allegro, Openlink, Triple Point, Amphora. Roll out the names. Roll out the barrels. Yet be surprised.

US fracking increases oil availability, energy efficiency in cars improves, middle east conflicts fluctuate, China shops around, Russia creates embargoes and the Saudis keep production levels for market retention. A few events outrun the systems - halve the price. Now wait to see whether Saudis hold their nerve and American fracking becomes unprofitable.

The machines' trades win over the humans' comprehension with the capture of margins creating an ultra-minority wealth. Just like the 28-year old in the story.

"Money has lost its narrative quality the way painting did once upon a time. Money is talking to itself. as Delillo puts it.

Frankly, it's a tough movie to watch. Tight one-to-one interactions with Pattinson's character, dealing in whip cracks of Delillo thought. Eating and sleeping in the shadow of what these people do.

serial box channel hop mystery

Icy roads this morning and a few snowflakes falling from the sky. For me, it's bike turbo weather and I've fired up the PC to watch some boxsets whilst pedalling.

In the olden days I'd use DVDs, but for years I've been Netflixed-up which is altogether more convenient.

Except for one thing.

VBS - Vanishing Boxset Syndrome.

It's happened to me a few of times now. The first was "Ashes-to-Ashes", the retro cop series involving time travelling/comas from the 21st Century back to the 1980s. There I was at the end of Season 2, with Season 3 cued-up to watch when the whole Netflix box-set turned to ash.

Back in the day, I watched Weeds across three delivery channels, the first parts on Netflix, then some on iTunes and I finally had to buy the American region code last two series on DVD. Its an excuse to play the Little Boxes opening again, the version below by Elvis Costello.

The latest boxset to disappear is Justified, which I'd been watching on Netflix. I'd just got to the disarming ending of Series 3 and had Series 4 wound past the start as my next viewing, when it suddenly disappeared during the opening parachute flashback sequence. I've looked around and it's now on Amazon Prime, so I can recover from this unexpected blip. I also have a sneaking suspicion that Justified is now on Sky, but whether it's all five series remains to be checked.

It makes me wonder what is going on in the smoke-filled back rooms of the various channel executives? I suppose if I read the small print somewhere it will tell me when these various series will expire, but they don't make much of this when they first advertise the availability of new materials.

Maybe they want me to watch them even faster. I'll need more icy weather and longer pedalling sessions for that to work.

spinning through a sale dvd

Impossible to miss the 'Sale' signs spread across London yesterday, along with the nostalgic advertisements for just about everything.

I briefly succumbed, buying the DVD of "the Thick of It" upon which the current movie "In the Loop" is based. Spin doctored macho politics, describing a fictional Ministry of Social Affairs. Remarkable how many currently topical events get referenced, even MP expenses.

I missed the original series on telly, but it was a worthy £5 purchase for all six episodes of the original.

Apparently the makers were given enough money to make a single pilot episode but reasoned that if they filmed it very quickly they could get three episodes made within the original budget; slightly at odds with most real government situations.

If anything, current truths are proving stranger than the fiction.

enjoyed State of Play before Chianti refuel

I enjoyed watching 'State of Play'. A good and mainly tightly scripted conspiracy thriller about newspapers, relationships, politics, police against morality questions around friendship, self serving ends and ways to derive 'truth'.

There's some structural conventions, like in a good blues song, to make it easy to absorb - a short opening scene during which someone is eliminated from the plot. Helicopters, aerial swoops around skylines, CIA Langley, clickety clackety noises and a special synthesizer sound reserved for the prowling man with the big gun.

A scruffy metropolitan Saab-driving reporter (Russell Crowe) whom all of the cops know, eye-candy cub-reporter accomplice (Rachel McAdams) who writes the 'Capitol Hill' blogs for the paper(chalk cheese etc). Tough Brit scene-stealer editor trying to sell copy to stop the newly acquired paper from toppling (Helen Mirren). An entourage of only semi-named cops who are mostly a step behind the wily reporter's investigation centred on his ex room-buddy senator (Ben Affleck with a cheesy Philadelphia accent).

Snappily paced, with a few longer scenes to give time to breathe a little. Some settings confused my sense of the 2009 period - I found myself checking a car date sticker in one scene to be sure. The cluttered newsrooms full of paper were for me more evocative of 70s movies than a 2009 paperless workplace, but hey, maybe the press still do it the old way.

With references to Watergate Building (been there!) whizzing around Washington (ditto) and Georgetown (yup), there was a combination of homage to other reporting stories and perhaps just things to make it easy to fix the location for a global audience.

By random co-incidence I'd also watched 'Body of Lies' a few days ago, with Crowe playing against Leonardo di Caprio (another good popcorn film) and it was interesting to see the way Crowe can change his whole appearance and demeanour for the different roles. Less so with Affleck, where I thought it more a good casting choice for him as the neat but flawed senator.

And back to the blues song formula, one hopes in a film like this that certain things will happen; the genre needs the underground car park scene, helicopters, convergence of the unconnected, the important twist when you think you know what has happened. Its all there.

BUT. I gather this was adapted from a BBC screenplay produced some years ago. I'm wondering in hindsight if there's still enough of the original plot arc there to have limited some of the choices from what a modern rebuild could do? I'm guessing it was a mini-series, which could explain why I thought there was an end in sight around 2/3 of the way through (end of episode?).

Also the blog/new media savvy gal with the faux 1940's columnist name Della Frye, could have driven more into the plot. Don't just give Crowe a Blackberry, do something more interesting with the social media. Instead, Crowe ends up instructing McAdams and Affleck on spin management. A modernist twist here could have been more fun.

That's me being a tad over critical though; was this a film to watch before drifting along to an Italian restaurant for some good conversation over a glass of wine?

Will I watch it again when its a DVD or on Sky?

For sure.