vi

My best guess is the 2 LDs sold like crap, so the just did dub/sub VHS for #3, and that still sold like crap, so they did the absolute bare minimum (sub VHS only) for the TV series, but that’s just a theory.
They’re also the only entries Funimation didn’t bother to rescue, along with Mihoshi Special

That’s actually something I’ve been trying to figure out. It did get a VHS release, both dub and sub. This was not normal for Pioneer, who literally got into the business to sell LD Players.

I believe Magical Project S was Pioneer’s first sub-only release, and it also skipped LaserDisc.

Wow, $25 is a lot cheaper than I was expecting. Here’s hoping the release turns out good.

Netflix is NOT using OOONA. They are merely recommending it to third parties as a mean to produce standardized TTML files that they (Netflix) will ingest and convert to other formats!!

But I could be totally wrong here. I’m not a video engineer. You may be right, and there’s a simple solution CR is too incompetent/poorly managed to figure out. But if thats the case, why isn’t any other streaming service, anime ones included, using them?

If Netflix’s engineers can’t figure out a way to make half-decent subtitles work, I don’t think CR is going to be able to make anything more complex work at scale either. They’re trying the “not that hard or expensive” route, and that’s what led to this whole uproar in the first place.

CR is trying to use existing technologies like you suggested, and people are already pointing out how much of a downgrade it is from the previous system. And if you read through that Netflix article, they’re *still* having to burn in subs because the tech is too heavy for some platforms.

And guess what company currently handles those “fancy” subtitles for Netflix? OOONA, the very same company everyone is yelling about right now for (allegedly) being a “downgrade” from CR’s old in-house solution.

This is what I’ve been trying (and I guess failing) to get across.

Netflix has nearly 18 times as many subscribers as Crunchyroll (300m vs 17m) and with almost 11 times the number of employees (14k vs 1.3k). What’s simple form Netflix may be really hard for smaller players. It’s like asking why Barnes & Noble can’t do same day delivery when Amazon’s figured it out.

I can’t remember who it was, but I remember some programmer on here musing they should add “paper code” to their repositories: unused, nonsensical code with no other purpose than to confuse any AI that scrapes it and to serve as proof their code was stolen.

5th Be Forever Yamato: Rebel 3199 Film Reveals Title, February 20 Premiere in Teaser Trailer 5th film is titled Hakunetsu no Ginga Taisen; 4th film Mizuiro no Sasha opened on Friday

The 5th Be Forever Yamato: Rebel 3199 film will open in Japan on February 20, and the film has revealed a video and visual.

That’s where the (rumored) deal with OOONA comes in: they found another company willing to take over the headache of making sure (better than SRT) subtitles work on every platform with (almost) no bugs.

That solution still involves doing 2 entirely different sets of subtitles in terms of timing, and would result in even worse subtitles for any platform stuck on SRT subs.

Just because libass can be built for any platform doesn’t mean it’s been tested for all of them.

We don’t use AI for subtitles. Every line is carefully timed and translated by real people (who cry during finales and debate Best Girls, just like you).

I got interviewed for this article! First (and only) time anyone from a national news magazine called me for a quote, and I'm still not sure why, but it's a thing that happened.

I don’t think I’ve ever seen an SD (on BD) copy included as an extra outside of a few Discotek/AnimEigo releases where they changed the aspect ratio during the remaster process.

Be curious as to why it’s included here.

Also, is it just me, or is this like the 5th time CR has put out a statement *implying* they don’t use AI, but not outright confirming one thing or another? Correct me if I’m wrong, of course (good chance I am).

Note that their statement doesn’t actually rule out the use of a new subtitling system, new vendors, or the use of AI, they’re just not blaming any of those for the recent delays, and refusing to comment on anything else.

(Or at least, that’s what I got out of their statement)

Both Bowery Hill and Atlantic Media seem to sell everything from office chairs to beds, so my guess is they all came out of PrePac’s factory

That exact shelf is currently being sold under the Bowery Hill brand on Amazon. I also own some nearly identical ones (sans “bump” at the top) at Home Depot, which are branded Atlantic Media.

a.co/d/aSQgQW3

I think I’ve now seen proof of a rounded-slipped copy of Cyber City Oedo 808 in a blurry photo on a Japanese auction site (and of course I forgot to save it before the page went down)

This almost certainly means another stealth re-release is out there. If you stumble across a copy, post pictures!

"The Mysterious Cities of Gold" french/japanese series (1982) for free on Youtube (worldwide / French+English dubs).
>> www.youtube.com/@MCO_Officie...

Prime Rose: A Time Slip Of 10,000 Years Blu-ray via AnimEigo. January 20.
customers.mvdb2b.com/s/PrimeRoseA...
www.amazon.com/dp/B0FTTLN35N

Replaced the case for Dirty Pair TV and it's a perfect fit and no more stacked discs.

The exact one I bought - www.ebay.com/itm/20512781...

hmm...

(Dirty Pair Kickstarter update #53)
www.kickstarter.com/projects/160...

It is, but literally every single Funimation/CR disc I’ve ever bothered checking came out of Mexico (granted, that’s not *that* many when I really think about it…)

It’s less that I see it as “European Only”, and more “not like CR US”, but I’m going out on a massive limb here, I’m likely wrong.

So to recap: Crunchyroll (an American company) hands the project off to Crunchyroll GmbH (a German company), who then contracts with DVS (an American company) in order to do the discs, which are then pressed in Germany and flown all the way back to the US to be shipped out. This seems inefficient.

So I just found the company who actually authored the discs, Diversified Video Solutions… and they’re based in the US, but clearly state they were working with Crunchyroll GmbH. Now I’m even more confused.

diversifiedvideosolutions.com/services.html

Of course, I said this was a question that likely has an answer. I’m sure *someone* knows why, and I’m sure the answer is incredibly boring like “weird union rules” or “we forgot”. But whatever the answer is, I’d love to hear it.

One curious detail was that, by this time, all of Streamline licenses for our anime theatrical movies had expired; but none of the Japanese studios wanted to reclaim their 35mm copies. The exception was Lupin III: The Castle of Cagliostro. The theatrical print in our possession never had the English dub; Streamline’s lone film print still had the original Japanese track with English subtitles. By 2002, Streamline’s license had long since expired; and anyhow, that 35mm print was literally falling apart despite its many splices. But theaters wanted The Castle of Cagliostro. They pleaded for it! We finally put them into direct contact with Tokyo Movie Shinsha’s Hollywood office. If TMS would give its permission for a one-time screening, with the understanding that the print was officially worn out and retired, we would put the reels into the armored Goldberg cans and send it out. There were still three or four bookings this way.

So where did Streamline go? What did the credits look like for their theatrical run, before Urban Vision even existed?

Well if Fred Patten is to believed, there may still be a 35mm print of it out there, somewhere…

cartoonresearch.com/index.php/st...