| Identifier | 9227679 |
| Created At | Tue May 23 2023 23:54:00 GMT+0000 (Coordinated Universal Time) |
| Media Type | DVD |
| Media Count | 2 |
| Source Info | Video
Unknown Standalone source > DVD Decrypter > Sony Vega 7.0 (original bitrate was 9600 with AC3 audio) rendered to 8400 bitrate to allow for audio upgrade. Per Awolfeoutwest about the re-encoding "And, I have to say, even though I am a stickler when it comes to re-encoding MPEG2, that the Bertha audio in your version makes it the better version in my opinion. The added softness in the re-encoded video is not at all apparent, but the sound upgrade is striking and crucial. In a blind "taste" test, I would choose your resync in a heartbeat. Very nice!" My own views are that the original AC3 audio was a bit over-recorded - when comparing side by side - the Bertha is much fuller, better stereo seperation and just sounds better at higher volumes. Audio: Bertha Remaster of the Braverman/Dank 16 track source. (shnid 21619) SBD>>MR>>DAT>>SS>>CDA>>EAC>>SHN>>DAW(Bertha)>>CDA/SHN - Sound A (Between songs from the two-track master reels) Digitally remastered using a custom built, Dual-DAW, nicknamed Bertha, by jashley@deadacated.com on January 4, 2004. Thanks to Peter Braverman for his fine work. From the Braverman text file and prior to Bertha Remastering: Source: SBD>16 Track Master Reels>DAT@44.1K>DAT>DAT>WAV>SHN DAT>WAV via Sony SDT-9000 DDS drive using VDAT 0.6f WAV was edited in Soundforge 4.0 (crossfading of reel cuts between songs, no music was disturbed except for Sugar Magnolia) WAV>SHN via CDWAV 1.53>MKW 0.97b Notes -Video assets courtesy of Lone Star Dead. -SBD audio courtesy of the Wheel -Audio synchronization by Kevin Tobin using Adobe Audition to compress/expand the audio in multitrack mode to match the original audio. -Multiplexing via TMPGEnc MPEG Editor by Kevin Tobin. -DVD authoring via DVD Architect 3 by Kevin Tobin. -MD5 checksums files are now being placed in the disk folders to support multiplatform use. Please remove before burning VOB files to dvd disk. - I did not add any extra footage like I did on my first update (namely the last 2 minutes of Playin' In The Band) - the original video is all I used. Audio\Video Flaws: 1) For first 4 minutes 50.839 seconds of video used the video soundtrack as no matching soundtrack is available. 2) All vocals\talking during the Playin in the Band segment were mixed in from the video soundtrack. 3) Between Playin and Promised Land, video soundtrack was used as no matching audio from soundboard. 4) Between Promised Land and China Cat Sunflower, video soundtrack was used as no matching audio from soundboard. 5) Between I Know You Rider and Jack Straw, video soundtrack was used as no matching audio from soundboard. 6) Between Jack Straw and Dark Star, video soundtrack was used as no matching audio from soundboard. 7) Between El Paso and Greatest Story, video soundtrack was used as no matching audio from soundboard. Video Attribute : Video compression mode : MPEG-2 TV system : 525/60 (NTSC) Aspect Ratio : 4:3 Display Mode : reserved Source picture resolution : 720x480 (525/60) Frame Rate : 29.97 Source picture letterboxed : Not letterboxed Bitrate : Disk 1 8.400 Mbps Disk 2 8.400 Mbps Menu : Yes (song list on separate menu) Audio Attribute : Number of Audio channels : 2 Number of Audio streams : 1 Audio Coding mode: Linear PCM audio Sampling Rate : 48kHz 1536Kbps Brokedown House Productions Do NOT Buy or Sell this video |
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| Tech Note | Concert film by John Norris, Sam Field, and Phil DeGuere Loosely shot, this 100-minute film captures an incredibly youthful Grateful Dead playing outdoors at a creamery benefit in Veneta, Oregon. The following text is from http://www.sfherald.com/columnists/...apozzola08.html "In sitting down to watch 'Sunshine Daydream,' one gets a sense of revisiting history. Because this was an era of unprecedented accessibility, the Canis Major crew were able to station their cameras squarely on the wings of the stage, mere feet from the band. The resulting footage allows the viewer to stand almost shoulder-to-shoulder with a very young Bob Weir, age 25, strumming a cherry-red hollow-body guitar; a bushy-haired Phil Lesh, dressed more like a surfer than a bassist, and belting unexpected harmony vocals; a fuzzily bearded Garcia, age 30, smiling, not a gray hair in sight; and, a tough-looking Bill Kreutzman, sitting squatly on his drum stool, chewing gum and wearing a railroad conductor's cap. Where most Dead fans only witnessed these musicians 20 years later, and from the remote mezzanine deck of a Checkerdome-Enormodome-Superstadium, here suddenly is Garcia's boot tapping on a rusty foot pedal, Phil Lesh leaping in front of Kreutzman during a jazzy drums and bass solo, and Bob Weir stepping timidly to the microphone after a long, haunting jam. One can only speculate on just how psychedelically engaged Norris, Field, and DeGuere (along with third cameraman Lou Melson, and soundman Charlie Barreca) were as they recordeded the day's proceedings. The concert itself was organized by Ken Kesey and the Merry Pranksters, which helped to ensure a day of genuine acid craziness. But shot with synchronized, handheld cameras, the Canis Major team succeeded in capturing both the blissful playing of the musicians and the general ecstasy of the audience. The camera eye becomes almost a running commentary of the respective filmmakers' interior monologues. A close-up of Garcia's leather boot stepping on a wah-wah pedal jumps suddenly to a Christ-like figure perched precariously on a wooden pole above the stage. The camera tracks the fellow as he dances rabidly above the music, then cuts to two women walking a child behind the stage. A dog runs past them. Suddenly the music changes gears and the camera swings back to the stage, to blonde-haired Phil Lesh at the precise moment he strums a booming chord on his bass. And then the other camera takes over, offering Bob Weir baring his teeth and straining to sing a high note as he chops harsh chords on his guitar. Weir falls backward as Garcia begins to solo and the camera suddenly jumps again to a topless girl dancing nearby in the tall grass. Such chaotic filming succeeds precisely because of its extemporaneous nature. Almost accidentally, it captures the day's events in whirlwind fashion, fortuitously recording all the peripheral "noise" of the festival. In editing the film, DeGuere, Norris, and Field wisely provided some breathing room, interspersing performance clips with vintage moments of Kesey and the Pranksters. Additional background footage delivers candid shots of the festival's organizers as they try to cope with a water shortage amidst the day's 100-degree heat. The camera pans to crowds of men and women sharing plastic jugs of water. Overdubbed walkie-talkie chatter reveals the stage crew trying to bring in a fire truck to hose down the crowd. In true Deadhead spirit, the film preserves an event that seem awfully remote in today's world of cable TV, Internet ticketing, and heavily policed gatherings. Early in the movie, an eager crew can be seen building a simple wooden stage. No cops, no security force trolling the grounds. No bags being searched, no one ejected for cigarette smoking. What one witnesses as the movie gets underway is 30,000 folks raving about in a big, sunny meadow while the local band plays on a hastily erected platform. Two flinty piles of amplifiers broadcast loud rock 'n roll out to the countryside. Amidst such casual planning, it seems forgivable that the festival's organizers forgot to incorporate stage lights. Providentially, this lack of concert lighting works to stunning effect later in the film. As the sun sets, and a cool breeze settles on the day's revelry, Garcia can be faintly seen crooning the plaintive "Sing Me Back Home," a mere silhouette of dark hair and beard against the gathering dusk. Such a pastoral scene, of dogs and babies and children eating ice cream, hearkens back to a bygone era. 'Sunshine Daydream' never lectures, though, never complains that such days have passed. But in its quick cuts to footage of the Merry Pranksters, and their 1964 bus slogan "A vote for Barry [Goldwater] is a vote for fun," one sees the timeless political viability of street theater. And cutting back to the Dead in blazing performance, one is reminded that the most essential American liberty is freedom of expression." |
| Trades Allowed |
Performance
| Grateful Dead 1972-08-27 Old Renaissance Faire Grounds, Veneta, OR | |
|---|---|
| Set 1 | Promised Land, Sugaree, Me & My Uncle, Deal, Black Throated Wind, China Cat Sunflower-> I Know You Rider, Mexicali Blues, Bertha |
| Set 2 | Playin' In The Band, He's Gone, Jack Straw, Bird Song, Greatest Story Ever Told |
| Set 3 | Dark Star-> El Paso, Sing Me Back Home, Sugar Magnolia, Casey Jones, One More Saturday Night |
| Comment | Springfield Creamery benefit - "Field Trip" - not 08-28-72 - Other artist(s): NRPS |