It must have been such an adventure to have a career spanning so many iconic aircrafts.

@ Oh yes, he loved flying! He was based out of SFO for his entire career! I recall him being certified on: DC-6, DC-8, DC-10 (He had SF to Hawaii for a while on the DC-10…loved the route but he hated the DC-10), 707, 727, 737, 757, 767. He briefly piloted the L1011, which he liked a lot!

I did fly a 767 from Dulles to Heathrow in June 2003. UA922. 777 coming back on UA919.

@@JoeDFWAviationI wasn’t born yet when this was filmed and what surprises me is that there is IFE

@@tahoebrocksmith723In-seat IFE started appearing on planes in the mid to late 90’s. Typically on the wide-bodies first, mainly, because they flew longer distances. Some like 1990’s America West (all narrow body fleet), later US Airways had In-Seat IFE on its fleet, but it got to be costly and was removed before the merger to US Airways.

The A330/40 is the closest thing

Wow, that’s some detailed knowledge! So cool. We had no idea when uploading this video that it would spark such interesting discussion. Thanks for contributing!

Welcome aboard!

Definitely rushed this upload and didn’t do any post work on it. Appreciate the constructive criticism.

@ I’m trying not to be too much of an A hole haha. Levels on capture isn’t really a post thing it’s adjusting your capture card levels before capture. Avisynth in Pmod has a bunch of histograms you can use. Avisynth doesn’t use temp files. You have to plug it into a program to encode if you want to encode. You can just drop and drop an AVI into it then after typing your histograms in it I just save the histogram test in notepad and label it level check then when I wanna check levels on a video I drag and drop the video into Pmod then open up notepad and copy paste the histogram check. You can see the histograms on avisynths wiki. It doesn’t alter your file then you just drop it into w/e editor you want Topaz etc… you can to that with a small test capture sample before your actual capture. I would do Avisynth 64 bit plus and the 64 bit version of Pmod. You can also stack videos horizontally or vertically with horizontal and vertical stack functions and then there is a ton of other stuff that idk and you guys wouldn’t mess with. Anyways it’s useful.

You’re good. We are still learning so we appreciate the feedback. Cheers.

We appreciate your appreciation 🩷

@ i appreciate that you appreciate my appreciation! 😆

I appreciate that she appreciates that they appreciate her appreciation.

Our channel digitizes old media we find. We don’t just upload Christmas themed videos. We try to time out the related seasons with our releases. This year we happened to have a handful of Christmas videos to share.

It's a city in Canada.

It's a city in British Columbia (BC) Canada - where the band is from.

We capture in FFV1 and ProRes. We use FFV1 when upscaling and ProRes when exporting SD output. We use Premiere, Resolve, FFMPEG and Topaz AI depending on the video and post work required.

I’ve heard FFV1 doesn’t flag interlacing. Huffy is a better codec for capture. It’s easy to get if you have a windows computer and use hofmands msi installer on GitHub. Another thing is you guys are in the wrong aspect ratio. SD is 640 by 480 in square pixels which is what KZbin is. Take off the 16 pixels on the sides that the capture card adds then encode to square pixels for KZbin. If it’s in the right aspect ratio it’ll fill the screen from left to right when your phone is vertical. If upscaling for KZbin then 1440 by 1080.

FFV1 doesn't flag but Topaz will deinterlace when set that way. Was under the impression FFV1 is a newer codec and more efficient but will look into it. Blackmagic captures 720x486, retangular pixels. It can be cropped to 706x480 or 704x480 (one is D1 and the other is maybe DVD?) Most of the advice we read is not to crop original videos when keeping a copy. Not sure what happened the KZbin outputs and the resolution but we will look into how to improve. Thanks for the constructive feedback. Appreciate it.

Some capture cards capture at 780 by 486 and some capture at 780 by 480. 486 is the entire visible picture. The extra 6 lines are generally black and/or noisy. They made them 480 because it being divisible by 4 helps it take advantage of Mpeg compression shortcuts. Also macroblocks are 16 pixels by 16 and 480 goes into that evenly. That doesn’t matter to us because we aren’t going straight to H.264 (MP4) container. You just want to crop to 480 by 704 before you do mpeg compression. It’s never a good idea to capture to 640 by 480. Just encode to square pixels later and capture to 720. In the windows XP days the cards had hardware Mpeg2 encoders any people would capture at 720 by 480 and do nothing to it since DVDs don’t need to be deinterlaced. The DVD player de interlaces it. The computers of that time didn’t have enough CPU power to capture lossless. A DVD player gets rid of the 8 pixels on each side the DVD player adds. The was when people wanted DVDs. Now even if you we’ve going to a disk it would probably be blu ray due to higher bit rate limits. Really upscaling is dumb with VHS unless you are going to KZbin. Then with KZbin it’s 1440 by 1080 for square pixel HD. If you are going to KZbin then you have to get rid of those 16 pixels on the side. It might be 4 on one side then 12 on another or w/e but it totals 16. That makes it 704 by 480 which is d1. Half of d1 is 352 by 480 and that refers to analog lines and really doesn’t have any relevance today unless you are doing mpeg2 with an ATI AIW. When they said not to crop they were meaning cropping down to 704 then mask. Masking the head switching noise is good because it looks better and makes it not have to use up all of your bitrate. Head switching and noise in the picture don’t compress well temporally because they aren’t redundant and MP4 is looking for redundancies. If you do crop noise at the bottom then you need to crop the sides. VHS is 4 by 3. It’s 4 wide by 3 high. You are allowed to round on that and you can only take off even amounts when cropping the 480 because of how de interlacing works. If you take off ten from the bottom round that to 9 then you have to take off 12 from the side in order to maintain the right aspect ratio which takes away from your picture. That’s why people try to just mask so they can just crop to 704 and mask w/e they want instead of losing there picture on the sides. There is no masking in Hybrid. Digitized VHS was based on anamorphic pixels. The pixels weren’t square. Square pixels are 640 by 480. Anytime you are going to social media it’s square. If you are going to a tv or VLC it’s setting flags for anamorphic pixels. It would be a good idea to try Selur’s Hybrid. It’s a free app and is really good for encoding and filtering for KZbin. It has a learning curve. I would do a CRF of like 15 and do quantis trillis then AAC of 160 KBPS if you are encoding to H.264 but it encodes to a bunch of different codecs. It is a GUI for a bunch of different scripts. It makes script editing significantly easier and lowers the learning curve compared to script editing. By more efficient I think you mean it takes up less space. It probably does but you gotta think the more compressed something is the more CPU it takes to compress it in real time. That can cause issues. Huffy is like 35 gigs an hour.

@@OldFootageWantedI am thinking of going out of Hybrid in FFV1 but at that point it’s progressive. I just wanted to because FFV1 is a lossless codec that the free version of Davinci Resolve can use for RGB color correction.

Thanks for watching!

The tape at the start was pretty chewed up and we actually had to splice a lot of the intro out unfortunately. Leaving the intro out was not our intention and we apologize we could have tried better to include as much as possible. We agree the creators should be credited - we tried our best to add as much info in the description.

thank you for reminding me what trail that was. I swear it was familiar but I also thought maybe it was just a dream.