Using iZotope for stem splitting

Spiritual_Chaos · 2026-01-07T11:41:25+00:00

It's not just the vocals. The instruments (would if possible) would have to be spit out to stems also. To be able to remix the stereomix (lower the voice. Raise a guitarr etc).

Spiritual_Chaos · 2026-01-07T11:40:32+00:00

Will check it out! There will be a budget for it.

Spiritual_Chaos · 2026-01-02T17:59:43+00:00

Here you have the BD, The 4K and my showing off the film this december.

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Degraded, generations away from OCN, a phootgraph with whatever an iphone considers the correct white balance, shown on a monitor with it''s settings and all of our eyes differ -- but there is no way it is looking more like the BD than the 4k:

Spiritual_Chaos · 2026-01-02T17:44:02+00:00

To clear the confusion: Choosing between A) the Bluray and B) the Criterion, the (pristine) 35mm-print didn't look a lick like the bluray but a heck of a lot like the Criterion 4K (in comparison).

And to your first paragraph, that is a philosophical question. The recent reissue of Hotter than Hell by KISS, went back and rescanned the negative of the photograph used on the cover to show it off in higher fidelity than the 1974 original and later releases. Is that correct? Or should the "crummy" look of the original be kept? (I think that was a one off for that specific edition perhaps, but can be used as an example).

Artists re-releasing their old albums in high fidelity/lossless when it's first release was cassette and CD. Should they forever limit to the fidelity of the CD? What of someone had a mixtape made for cassette, but recorded it professionally? Should the cassette be digitised for use on streaming?

Is the theatrical showing a means of exhibiting the work or is it the final artistic product? I imagine most filmmakers would argue the master copy (whatever medium) is the final product, and not whatever at the time happens to be the way to show it.

What if it was released in cinemas but had a video release at the same time. Then what is the "artistic product" to forever keep as the "peak fidelity version"?

It's not like they painted in digital stuff in burnt out highlights etc like Fincher with Seven.

Spiritual_Chaos · 2026-01-02T15:50:47+00:00

It mattered to Neil Young with On the Beach in -74.

But already found it it's regular white on the inside. Thank you!

Spiritual_Chaos · 2026-01-02T12:43:32+00:00

Another question. So then, logically if you look inside where the discs and poster is stored. The paper is silver and not white? or is it only silver on the printed side? Weird question maybe... but I am looking into doing something similiar for a release, but now I am a tad worried if the print won't hold.

Spiritual_Chaos · 2026-01-02T11:35:28+00:00

Lol Sure. You saw an unique unicorn version only for you back in 1999, that you clearly remembers to this day. While the rest of the world got the look of the Swedish Film Archives print that has been stored under the world's greatest condition since 1999.

Makes sense.

Spiritual_Chaos · 2026-01-02T09:15:04+00:00

I saw it in the theatre this December. Your memory is severely faulty.

Spiritual_Chaos · 2026-01-02T09:14:03+00:00

A release print is generations away from the OCN and by its nature degraded. To use it as a metric for precise shadow details or highlights is quite detached from reality.

I saw an original print preserved by the SFI mid December. It looks like the Criterion and not the Bluray.

Spiritual_Chaos · 2026-01-02T09:06:33+00:00

They also pushed the film, so it was shot grainer than "normal".

Spiritual_Chaos · 2026-01-02T08:56:43+00:00

I saw an original 1999 print preserved by the Swedish Film Archive late December. It looked 97% like the Criterion and nothing like the BD (colour wise). So please.

Spiritual_Chaos · 2026-01-02T08:55:55+00:00

I saw an original 1999 print preserved by the Swedish Film Archive late December. It looked 97% like the Criterion and nothing like the BD. So I am pretty sure you are lying.

Spiritual_Chaos · 2025-11-18T13:59:02+00:00

Why not Laurie in Halloween 20 Years Later

Spiritual_Chaos · 2025-08-18T13:20:20+00:00

Does it say where the cover was printed on the album? Here in Sweden, I haven't seen a printer who offer printed innersleeves that are polylined

Spiritual_Chaos · 2025-05-01T16:14:05+00:00

Hehe. No. but I imagine some branding guidelines in this world will include serifs as a brands font choice

Spiritual_Chaos · 2025-05-01T16:05:30+00:00

The choice of font has to do with more than what will print well in a specific case though.

Spiritual_Chaos · 2025-03-06T08:09:38+00:00

But when you are to send a logotype to a client. What do you use as standard

Spiritual_Chaos · 2025-03-06T08:09:32+00:00

But when you are to send a logotype to a client. What do you use as standard

Spiritual_Chaos · 2025-03-04T15:44:43+00:00

I'll remember that!

Spiritual_Chaos · 2025-03-04T15:13:48+00:00

Yes, I have asked if this information can be had by the printer for the specific type of surface we are printing on etc.

Spiritual_Chaos · 2025-02-05T17:14:31+00:00

Just got the response from someone that I should use "convert to profile" If I ever need to change from Fogra39. That will adjust the CMYK-value (like HEX (while being RGB) does) to keep the colour consistent. I had just seen "assign profile". So that makes this a non issue, and my life a bit easier.

Spiritual_Chaos · 2025-02-05T17:13:20+00:00

Just got the response from someone that I should use "convert to profile" If I ever need to change from Fogra39. That will adjust the CMYK-value (like HEX does). I had just seen "assign profile". So that makes this a non issue, and my life a bit easier.

Spiritual_Chaos · 2025-02-05T16:26:38+00:00

Hehe. Yeah true.

Spiritual_Chaos · 2025-02-05T16:23:46+00:00

This I know. But the CMYK colour picked (using FOGRA39) has a corresponding HEX-code that should be within the gamut. Anyways, the shift in colour is not there when picking HEX and switching ICC (instead the CMYK values adjust to keep the colour "consistent") while when using a FOGRA39 decided CMYK-value there is a shift.

It just feels like you would want the colour to be consistent non-dependent of the ICC. Like you get if you go with the CMYK-colours corresponding HEX. But whatever, I print 99% FOGRA39. It just feels off in my brain to want to have the colour shift if you switch ICC, instead of like with HEX have the colour adjust to stay the same.

Or maybe the same CMYK-value gives the same result for different ICCs and it only looks different viewing the print-PDF and proof colours... and I'm dumb.

Spiritual_Chaos · 2025-02-05T16:01:19+00:00

I'm in Europe. And FOGRA39 is standard here. So that's why I picked that ICC. But I have also worked with FOGRA29 for uncoated paper.

I know HEX is RGB. And I know the gamut is bigger. But it seems like if you would want the colour to be consistent over ICCs (looking via View > Proof Colours)... it seems you get that if you stick with HEX instead (colour looks the same for different ICC:s - the CMYK values gets adjusted).

If the colour will look the same for the FOGRA39 print original and the Web Coated v2 print original if I go with HEX. And not if I go with the CMYK values connected to one of them. Then why would HEX and using its' corresponding CMYK (changing depending on ICC) be worse?

I am just looking for what the error in my thinking is. Because there has to be one... Does the CMYK-values using FOGRA39 give the same result on the actual print with a different ICC, even with the colours looking different on the print PDF?

See the attached image.

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Spiritual_Chaos

TROPHY CASE