Remaster reads the back catalogue against today's specs in arithmetic, puts the clock on each title's paperwork, and returns one of five verdicts per title — including one that says plainly it was never judged.
Nothing opens in this browser — this one takes a job and does the work on our own graphics cards in Oregon. The free allowance below is how you try it: 50 titles, no card and no payment, on the key you are issued.
The records question is asked on every title, whether or not the allowance reached it. A title that is technically fine and has no current paperwork is not a re-release.
The problem
Hundreds of titles shot at resolutions nobody streams, in aspect ratios nobody wants, under releases that may or may not still cover a re-publication, by performers some of whom you can no longer reach. Somewhere in there are the twenty titles worth a day of work each. Finding them means opening every one, and nobody has the week.
Re-release as is, re-encode first, re-cut, hold on records, and leave. One verdict per title, with the reason that drove it printed beside it.
Its own section, in those words. Titles your allowance never reached are not quietly folded into "leave" — that is the failure mode that makes a triage report useless, because it hides the work still outstanding.
The paperwork clock is asked on every title, including the ones the allowance never reached. A title with no current release is a hold regardless of how good the file is.
If a pack covers four hundred titles and the catalogue has six hundred, two hundred come back in a section headed NOT JUDGED with that written on every row. The temptation for a tool is to put them in the leave pile so the output looks complete. That turns two hundred unknowns into two hundred decisions nobody made, and it is the exact reason this section exists and cannot be switched off.
How it works
Titles with whatever technical detail you hold — resolution, aspect, codec, runtime, shoot date — and whatever you hold on releases and performers. No video files; Remaster reads the record, not the work.
Resolution and aspect against today's delivery specs is arithmetic, and it is done in Python for every title before any model is involved. A title that no longer meets a spec is a fact, not a judgement.
How old the release is, whether it covers re-publication, and whether the performer records are current as of a re-release date rather than as of the shoot. A hold here outranks a good file.
What it will never do
A triage tool that overstates its own coverage is worse than no triage at all, because the gaps become invisible. Three of these four refusals are about that.
Pricing
A title judged is a title that got a verdict. Titles in the NOT JUDGED section are not charged — which is exactly why that section has to be honest, and why the free allowance and that section are the same mechanism seen from two sides.
The oldest fifty, which is where the verdicts are most interesting.
A back catalogue gone through properly, once.
An archive several labels and many years deep.
Flat per title judged. Unjudged titles are free and are reported as unjudged, which is the opposite of how this is usually sold. Your licence key is emailed to you within two working days of payment.
Checkout is our own bitcoin server, not a card processor. The units you buy are added to your key: buy from the Buy more box inside the program and they arrive on their own once the payment confirms, or buy here and paste the invoice number from your receipt into that box.
Questions
A records problem that could be fixed. An expired release that the performer might re-sign, a credit name you can still confirm, a 2257 index entry that exists but is not current.
Leave is for titles where the work is not worth it or the records cannot be repaired. Mixing the two would have you abandon re-releases that are one signature away.
It asks the question against the dates and the terms you recorded, and it flags what it cannot answer.
It is not legal advice and it does not read the signed document. What it does is make sure the question is asked on all of them rather than on the ones somebody remembered.
You can — buy the pack that covers it. The point of the NOT JUDGED section is for the times you did not.
Partial coverage is the normal case in a first pass, and a report that pretends otherwise is how archives end up with two hundred titles nobody ever looked at again.
No, and there is nowhere to put them. Remaster reads your catalogue record.
That means it can be wrong when your record is wrong, which is a failure you can see and fix in your own spreadsheet.
A key. One line of text, issued to you and shown exactly once — only its hash is kept here, so it cannot be looked up later and we could not tell you what yours is. Every key arrives with a free allowance already on it, which is the tier at the top of the pricing above, and the work starts the first time you send a job with that key on it.
Each job is metered in the unit named in the pricing, and a unit that fails — a file that will not read, a row the model held back — is not charged and is named in the job report rather than silently skipped. When an allowance runs out the next job is refused before any work starts, with the number it used printed on the refusal.
More units are bought in bitcoin. The checkout is a bitcoin server we run ourselves. Buy from the Buy more box inside the program and the units are added to your key on their own as soon as the payment confirms; buy from the plan buttons above and paste the invoice number from your receipt into that same box. Each payment adds its units once, to one key.
Not the re-release pile — the holds. Those are the titles with a working file and a records problem, and they are where the cheapest revenue in the archive is sitting.