It's up on funimation, so you can grab 256 kbps audio instead

Hang on, isn’t this supposed to be a red entry (label as a remake)? You transcode this from Erai, right?

Not a re-encode of someone else’s encode. The source is a bit perfect copy of the cr video track. Unless you’re saying “cr has a master as their source, and they encoded it, then you encoded that, therefore it’s a remake”? In regards to your comments on the Vodes regrain of "Made in Abyss." I always appreciate hearing different perspectives. However, I just wanted to point out that the regrain was actually intended to better match the original grain found in other sources. While everyone's entitled to their opinions, it might be worth considering this before critiquing, I'm not familiar with you as a nyaa commenter and I'm reading over your comment history to verify your creditability. Regardless, I enjoy and welcome your comments so feel free to share your thoughts any time, I'm always open to feedback.

I never thought it that way before. I’m under the impression the Web broadcasting such CR is all intend, and purpose, normally deem to be a lossy copy. Please correct me if I’m wrong with this one. The studio responsible hands out their serializations (finalize or not) to the streaming publisher, and the publisher prepare it in such a way that it will be put out to their audience according to their platform specification such as a capped bitrate for example. However, I think I can understand where your interpretation about the web broadcast version can also be categorized as the “lossless source” in this context, being treated as the web original release. Hmm, still the perception is that those encode directly from lossless such as BDMV, REMUX etc. can get away with non-remake tagged or those with non-transcode muxing. In regard to the other thing, I forgot about the regrain comment. It was such a one-off piece; I don’t even remember about it. I bought and owned the limited-edition box from dynit back in summer. I remembered downloading the Vodes release and compared it to the BD-box I have and saw how graining certain scenes is. Likewise, I understand the purpose of it but my god, it was taken too far. Nonetheless, I appreciate your explanation. Perhaps, I'll hang out, and we can talk more in your discord someday.

I see where you’re coming from, and your understanding is largely accurate. Indeed, most web broadcasts are optimized for streaming, which can result in some degree of compression and loss of quality. This is done to ensure that the content can be easily streamed across various devices and bandwidths. That said, encodes from sources such as BDMV/remux are generally considered superior. However, the only true lossless source are the studio masters, which we’ll never gain access to.

Definitely, you are correct. The true gold master is with the studio which mostly inaccessible to the public and aren’t consider for direct publishing (at its current size and state) and normally for leasing to publishers for release. IIRC, based on my tour to Ghibli and other prominent studios, the true gold master can get obscenely massive (over hundred terabytes for one scene for example). What we get as the buyer (end user) is the finalized, published and release version, ready for the public but still at time in the mercy of the BD/DVD publisher if they can competently release it without fault. The result are considered lossless in this case due to the fact that they are the final product of what the creator want us (the public) to have and experience. Hopefully, I don't get off on a tangent.

I see what you mean. The production process and the sheer size of the raw studio master files are huge. Your example from Ghibli studio being in the realm of hundreds of terabytes is a testament to the meticulous high-detail assets that go into creating content. We often think of CDs as "lossless" given the quality they offer. However, in comparison to the original studio masters, which are often recorded at much higher resolutions and bit depths, CDs are essentially a compressed version. While we, as consumers, receive a "finalized" version, it's just a glimpse. I don't think of sources that way, but it's true that even "lossless" audio is still a reduced example of the master copies.

Upped Funimation audio (retimed by me): https://gofile.io/d/l53NUP

Thank you Kamiyan93

That comment of one SCENE from the master copy of a Ghibli movie being HUNDREDS of TERAbytes cannot possibly be even remotely true. I believe a digital raw of a single episode of 1080 anime is roughly 100-120 GB - so about 100 GB per 20 minutes of raw footage. So the commenter probably misheard the tour guide. Digital editing and mastering is done with a mathematically-lossless compressed mezzanine format like Apple's ProRes, MagicYUV, or one of the many others depending on the software and hardware being used. Those are roughly 50-80 GB for a single ~24 minute TV episode of 1080p anime depending on the colorspace, presence of an alpha channel, and other factors. An entire theatrical film could of course pass hundreds of GB even in a mezzanine format/codec. Of course, whoever was speaking with the commenter may have been referring to the entire collection of digital production assets as a whole for the entire film, which I imagine can easily get into the terabytes. Doubt it's "per scene" though... Thanks to the prevalence of cloud-based deep-archive services, production studios these days keep permanent digital asset and mastering archives of all their past work, in order to avoid the ancient issue of historical archival loss that tormented the industry for decades, causing the loss of many priceless (or immensely valued) production artifacts (e.g. unique hand-drawn cels). Even with the cost-per-gigabyte being down to what it is, hundreds of terabytes per "scene" would still be untenable from a data warehousing perspective. The biggest modern platter hard drives today are barely punching through the 20 TB threshold. The commenter is implying you'd need an entire datacenter-grade SAN server to store a single scene of mastering materials, which doesn't make sense. Even if they pushed the storage into S3 Glacier, which is way cheaper than buying your own drives, hundreds of terabytes per scene over many different productions would be ungodly costly and would not make sense from a financial perspective.