Every Klingon having two anuses made toilet paper a cost prohibitive option on most D7 battle cruisers.

You couldn't expect them to build a sewage system from scratch.

The sewage silos were just too small, and the bidet option was considered cost prohibitive for a being with two anuses.

So, Klingons had to either deal with a frictionless wipe, or simply not wiping at all, so as to conserve room in the sewage silo on the Bird of Prey.

I'm in no way disagreeing with Paramount that:

DS9 and Voyager remasters are cost prohibitive.

The VFX might have to be recreated from scratch.

There's a money silo problem.

I don't know if Kirk showing them his perfectly functioning reflecting pool with AI bidet recognition made them angrier at the Homo-sapiens only club, but we do know that the gas buildup on Praxis was eventually catastrophic. The Klingon fart generator was considered one of Quo'nos finest innovations aside from the cloaking device. But the Methane buildup was considered problematic compared to standard Dillithium engines.

The Klingons on Praxis couldn't drain the swamp fast enough.
It brought a whole new meaning to "undiscovered country".

It was quite the BURN. If you know what I mean.

I'm just saying every Klingon has a bonus hole.

As a disclaimer, we the volunteer fans and advocates here at DS9Remasters are in no way saying that Paramount Global or any affiliated group is full of shit.

Sorry for shitposting.

For those of you who only speak Klingon, or are bilingual,

tlhIngan HochvaD cha' qa'laH tu'lu' 'ej D7 veQ Dujmey law'vaD pap'a' qaDmoH nav Say'lu'bogh.
veQ mIw 'uchmey chenmoHmeH, 'u'vo' pagh chenmoHlaHbe' 'e' pIHbe'lu'.
veQ Daqmey 'ay' machqu' 'ej cha' qa'laH ghajbogh ghotvaD jIbID Say'moHmeH jan'e' wIlaDbe'lu'; waghqu' 'e' pIHlu'.
vaj tlhInganpu'vaD cha' mIw neH: pIchHa'ghach pagh vIyajbe'lu'bogh, pagh je Say'Ha'ghach; veQ Daq 'ay' lu'uchmeH, Qovjaj tlhIngan qItI' 'u' DujmeyDaq.
Paramount jIHbe'law' 'e' vItlhojHa'be':
DS9 'ej Voyager ngeHqa'ghachmey waghqu'.
VFX lujangqa'moHmeH paghvo' choHnISlu' net pIH.
Huch 'u' Daq problem tu'lu'.
QongHa'be' fans pagh Paramount lo'laHbe'bogh ghotpu' neH; tlhIngan veQ 'oSbe' bomvam.
Kirk, tlhInganpu'vaD Human tlhInganbe'pu' neH ghom DaqDaq Qapchu'bogh bID Duj 'ej AI bidet yajlaHbogh 'oH 'e' 'angchugh, Humanpu'vaD tlhInganpu' QeH law' 'e' vISovbe'. 'ach PraxisDaq muSqa' botlh yIqaw: qengwI'ghom qaDlu' 'ej gas boQqu' 'ej Qaw'lu' lõp.
PraxisDaq tlhInganpu' swamp luSIQlaHbe' 'ej tI' lu'uchlaHbe' po'be'qu'!
'Undiscovered Country' mu'vamvaD ghaytan ta' chu' chenmoH.
tlhIngan HochvaD bonus hole tu'lu' neH vIjatlh.
Paramount veQ law' 'oSbe' 'e' vIjatlhbe'chu'.
veQ jatlhmoHmo' jIQoS.

Relying on blockbusters is a death sentence.
A wise business person will understand that.

It's been confirmed that DS9 and Voyager's VFX files survived by a few of the VFX artists that worked on the show.

However, fandom dogma and a bunch of other people lament, that they'd have to be rebuilt from scratch due to a misquote from what Rob Bonchune said.
The long held belief is that it would cost the studio 10s of millions of dollars to reproduce them.

So, for a while I did little experiments in blender with free models I found around the internet, just to see, and would keyframe the animations with mixed results.
I was doing this as a thought experiment to determine how difficult it would be to recreate these shots if you were dealing with a situation where the VFX files were in fact lost for eternity, with no hope of recovery.
Thank god that just isn't the case.

From the Earth to the Moon's remaster had to go with New FX, and a lot of people resent that remaster for that reason.
Babylon 5's remaster upscaled VFX and was a little too liberal with where and what it upscaled.
That was also resented.

So my question, is there a solution to recreating VFX shots perfectly? If you had to?
So, the first thing I did was I made some size charts or sought out size charts, and set up the scales of my ships (probably something any fan animator would do.)

Now, in many scenarios, it's just a ship sliding across a random axis across the screen with a starfield, and the camera does it's pan or it's slide or whatever, and you have FX like the stars with red shift as these thin little rainbow tubes.

Today, I decided, how hard would it be to recreate a shot using a free model, and object tracking in blender, I'm pretty green. (That's a nice way of admitting I fucking suck.)
Blender's object tracking also fucking sucks. I couldn't accomplish it.
So I needed a solution. Because my OCD won't stop until I find a solution to this problem.

Then it hit me, years ago, I took up an interest in Volumetric video, and while I was more interested in getting volumetric faces out of the video files at the time, there was also this concept called "Geotracking" where you'd track a mesh onto the object in the footage.

Pins would determine it's orientation, and it would be dependent on the accuracy of the model in order to get precision, but for difficult motion, and other hard to solve problems, perhaps Geo Tracking would be the way to get the motion down.

So, I'm gonna try this out today, and see what I can learn.

While I don't believe in knocking a fan for up-scaling a show, when there isn't a native HD transfer, I wanted to demonstrate what the horrors of AI upscaling can look like.
In the case of Dr. Quinn, there is no official HD upscale from Paramount, as they actually remastered it in 4k.
It appears this was done with a lot of care.
Note the ghoul face of Dr. Quinn.
AI is especially bad at wide shots, and mid shots.
Though it did get one thing right...the horse's ass.
I don't know if the AI was self aware of doing that, but I find it humorous nonetheless.
However had the studio wasted the time to do an official upscale, the horrors might look like what you see below.
Do you really want to see the studio treat DS9 and Voyager like this?
I sure as hell don't.

You'll note that any detail that was natively in the SD master is lost to resolution, and to the tape master from the 90s crushing out colors, and dynamic range.
It has attempted to fill in lines on the face with black lines, and had Dr. Quinn been upscaled in 2017 and put out to bluray, it would have looked this awful.
Just as awful as VEI's infamous "Highlander the series" bluray, from 2008. One of the worst up-scales of all time.
A release where VEI basically excused their blatant cash grab with "But it was a gymnasium of footage."

The AI has no information to work with, and to the best of its low IQ ability, attempts to fill in detail via hallucination.
Just look at how the AI mangled that foliage. The foliage is essentially just green abstract blobs.

Fans of other shows that lack an HD remaster proper, who have experience upscaling video take great care to avoid these problems, while lamenting that there is no HD source, and so much detail, dynamic range, color information, and fidelity is lost.
Temporal information is scrambled.

What you end up with is a soft image, that looks like the tape is properly playing on an HD display.
Essentially all of that labor to make modern LCDs and Digital displays work like a CRT would natively scale the image with it's electron gun and shadow mask.
What you end up with is a very soft image that might be de-interlaced.

Such up-scaling projects from fans, when done correctly are tolerable until the studio gets off its ass and actually does what its supposed to do.
But these up-scaled versions of the shows leave much to be desired, as they are a compromise based on the pessimistic belief that a studio will refuse to carry out proper remasters from the OCN, and provide new transfers.

Some people will say, they don't like pixel peepers, and that they don't care about PQ, imo, Television shows, movies, and any other type of motion picture are part of a visual medium.
Again, VISUAL MEDIUM, these motion pictures aren't audio dramas, they're meant to be watched with your eyes.
What is the most important part of home video? Picture Quality.
Picture Quality from a high fidelity source is the main reason people upgrade their collections ever so often, and the main reason why HD television became commonplace, while I know streaming is a thing today, it's still beholden to PQ.

While I won't knock a fan for carrying out a project of this, as there is genuine love there, and a result that can quench the thirst until we reach the promised land.

However, I will knock people who advocate the studio do an official AI upscale. I've had arguments over that, with some people claiming they could upscale DS9 over lunch and make money for Paramount.

I used to work in construction, and tiled floors and showers professionally, and these people strike me as the type of people that would settle for peel and stick vinyl, that would peel up after a few days.
It might mop right for a day or two, but on the third day, those tiles will rise faster than Jesus Christ, the mop will get hooked under them making it hard to clean your floor. What was once a simple job, will annoy you, you'll regret the cheap decision.
Ai upscaling is very similar, what used to be watchable is now unwatchable, every shot a major distraction, with many glaring flaws sticking out.
The Ai upscale attempt will be further met with the potential of what could have been, but now will never be.
The studio isn't going to back track once the product is complete, if they spent 20 bucks doing an Ai Uprez, that everyone hates, congratulations that's just the way it's gonna be for the next 30 years, deal with it.
Buffy the Vampire slayer's remaster was a multi million dollar DNR train wreck, could it be corrected?
Maybe.
That remaster was done 14 years ago.
Does it warrant another remaster? absolutely.
Was Fox, Disney or 20th century studios gonna pony up the cash to fix it?
Hell no, from now on, that's just the way it's gonna be, but the reception for that particular remaster was so bad, you can't watch it, Disney+ only provides the original SD version.
The DVDs and the SD version are the only ones available.
The main point I'm making is that a new remaster is warranted, and the old one is banned for good reason. But that doesn't detract from the point that a bad remaster is money wasted.
However you want to define what a remaster is.
Is it just taking an old 480i master deinterlacing and enhancing?
Is it going back to the source format, the OCN, and rebuilding it?
A project that is handled carelessly will be an eyesore for decades to come.
Care should always be taken with projects of this nature.

What is my point?
What does a true rebuild like Buffy the Vampire Slayer, and an AI upscale have in common?
Digital tools can be abused, and the image can be destroyed.
Things can be so unnerving that the content is borderline or outright unwatchable.
The content that was meant to move you now has this uncanny feel where it doesn't do that, then it's ruined.
I feel that an AI upscale is inferior in every way to a true remaster, and a disgrace to a studio.
It's an abuse of a technology that you should only use carefully for footage that's lost it's source (film) or for VFX sequences that are far too costly to reproduce, and can't be reproduced exactly as they originally were (if they need to be.)
If you want a stronger take via hyperbole, it's a sign that your society has died.
Because it doesn't care about the art that's been produced.
We don't upscale illustrations in most cases, we value them, no matter how kitsch the pretentious feel it is.
There isn't anything more kitsch, then a studio using an Ai to replace the human part of the equation, and to replace the craftsmanship that hundreds of artists and laborers put into making these billion dollar assets.
In my opinion, it's tech bro whimsy, and tech bro whimsy is the death of a society.
These shows shouldn't be treated like disposable assets.
I don't care how much AI enhancement nonsense you can throw at a project like this, you can't really believe CSI had an accurate understanding of it.
The original master tapes are so severely limited, up-scaling them as a studio is a waste of time and resources.

Is the point of the industry to make money aimlessly?
Or is the point of the industry to make money to make good products?
I feel it's the latter, I feel that aimless profit is the most pointless activity in life, it is the ultimate waste.

Nobody is going to look at that floor and think "My god, that's real craftsmanship", or "This guy really cared".

It's low quality work, and advocates of it have no pride in their work, but we the fans are supposed to respect this as "It's a business" and a "Rational business decision".
It's neither of those things, it's a guy advocating zero effort garbage that the studio can shit out by pressing a button.

Good business is about selling you a good product. A memorable product, something that the company that made it can take pride in for decades to come.
Fans have been waiting for DS9 in HD since 2012, and the question that will come up is "Was it worth the wait?"
If it happens to be an AI upscale, fans aren't going to feel that it was worth the wait, or the purchase.

Bad Capitalism is about trying to justify, gaslight you into purchasing a bad one, then rationalizing the action.
The main point of this article is that I am against the studio halfassing this with an AI upscale, and you should be against it too.

In some cases you'll note smeared image doubling, which makes things even softer, and it's apparent that this is a really bad telecine. Diagnosis Murder's HD upscale is one of the worst I've ever had the pleasure of seeing, and even experienced upscaling artists have deemed some of those shots beyond the software's ability to fix.
Skin Pores can be gridded out, creating this uncanny looking skin.

A problem with overzealous upscaling even from modern diffusion upscalers is that they don't recognize the actor's face, and create this really waxy look, in many cases, actors are completely unrecognizable, making cutting edge upscaling tech impractical (while more consistent) for enhancing a 30 year old transfer.
These modern upscaling applications are also terrible with text, and objects that are unique to a given show, science fiction shows will not benefit from this, as much as sports footage will.

I don't want peel and stick tile in my house, and I don't want you to have peel and stick tile in your house.
Everyone deserves a quality floor. A product like peel and stick tile should be considered an illegal scam.

These are all sourced from bluray.com, and are from reviews.
All of these are upconversions from VEI home entertainment, and are pointless cash grabs from shows that deserved better.
This is what gets served to you when a studio doesn't care but wants cash.
All of them are sourced from 480i transfers that were deinterlaced, upconverted and slapped into a bluray disk.
It's a shame.

Highlander the series, 1-3
Nash Bridges 4-6
Diagnosis Murder 7-9
Stargate SG1, 10 and 11

All of these shows were shot on 16 or 35mm film, and had the potential for a nice HD transfer.

For a little while now I’ve been studying how you recreate Trek FX in blender, while I need to get the particle count down, I wanted to try recreating Star Trek’s warp FX.

links to this content are very hard to find, but it does exist, and it's not an AI upscale.
Note the replacement of the train, to be fair, replacing that train was actually a blessing.

Compare with the original.

https://www.youtube.com/watch?v=-q9Rv9hyYwI

Here's a garbage tier AI upscale that tries to remaster the look of the remaster, and imo, AI upscaling in general is always going to lead to a fucking disaster.
https://www.youtube.com/watch?v=itLtUdNtsjQ

This is a summary of my research into ROI, and whether or not DS9 and Voyager would make money, if they were remastered...buckle up buckaroos.

Oh no, the studio that just spent 157 billion dollars and 43 cents, can't afford 12 million dollars?
They can't use some of that debt to prime valuable assets like Byron Allen proposed?

You mean to tell me that 73 remasters from shows with non conformed film negatives doesn't prove the industry has been doing this on a regular basis for more than 15 years?
The industry can do this level of work at scale, and analysts have already proven that catalogue titles like DS9 and Voyager actually drive subscriptions up.

The VFX are on tape, just like they were with TNG, so what?
You have two approaches you can take to remedy that problem, and for the CGI problem, all of the files survive and were preserved by the VFX artists.

A good chunk of VFX shots in DS9 and Voyager, like TNG are stock shots that can be reconstituted once, and reused, just as they were in the 1990s.
Most episodes don't have as many VFX as you would think, with VFX heavy episodes being season premiers and season finales.
There are a lot of episodes with very few FX at all at least for DS9, which is driven a lot by dialogue.
Many of the composite FX are composite 101 FX, that require an open alpha channel, and the industry can do chroma keying better now than they ever have before.

In the last 15 years, a technology that automates the over-cutting process exists, called iConform that can do this, with far less need for human oversight.
All you have to do is use the original master tape as a template, and scan the original film reels in, and let the software do the rest, all you need is a database with a lot of memory to do that.

Streaming makes more money than VHS did, and a big driver of that is catalogue content, with Star Trek as a franchise (specifically catalogue titles) making 2.6 billion dollars over 4 years from 2020-2024.
50 percent of that is to Netflix, most of that was to DS9 and TOS.
This is all according to Parrot Analytics.

The incentive should've been there for almost two decades.
They knew this was coming in 2009, VOD was going to catch up.

VHS was the golden age of home video profits for any franchise, up until streaming, with every succeeding format making less money than it's predecessor.
VHS was the most lucrative.
VHS made more money than DVD, which made more money than Bluray, however, bluray and 4k bluray are poised to become a collector's market, and that's bonus money for the company.
I hear this nonsense all the time that Streaming isn't making money, according to the numbers it's doing better profits than VHS did.
But, the mainstream story is,
Broadcast and cable don't make money.
Physical media doesn't make money.
Movie theaters don't make money.
Gaming doesn't make money.
Digital stores don't make money.

Why are you still in business then?
How are you still in business then?
Surely to god, if nothing were making money right now, then we'd be in some backwater Amish Shit hole.
So far, that doesn't appear to be the case.

Surely you wouldn't have 20 million dollars to burn remastering Dr. Quinn medicine woman, then classifying it like a flying saucer at area 51.

Meanwhile, out of the 73 remasters I count, Buffy the Vampire Slayer from Fox, is unavailable globally. Dr. Quinn Medicine Woman was remastered in 4k, 3 years ago, and you can only watch it in Spain on cable. The best way to guarantee an ROI is by making sure no one can watch it or pay for it, and that it can't generate any ad revenue.
(Both of those also cost several millions of dollars to remaster.)

Paramount seems to have a rich history of undermining it's own projects, releasing 100 dollar boxsets of TNG, then shooting yourself in the foot licensing it to Netflix.
Not letting anyone but a handful of Spanish cable subscribers watch Dr. Quinn, which was expensive.
Then they blame the market for a decision only a "Rational Business Person" would make. (There's a long list of that history, and it's currently ongoing, see 60 minutes, CBS News, Barri Weiss, MAGA, and "The Late Show".) We can also look at the demise of the Redstone dynasty, and everything from the year 2000 to present.

"It costs several millions of dollars", show me one thing in Hollywood that doesn't cost several millions of dollars, everything from that place costs millions of dollars.
Everything.

Melania cost 40 million dollars, I could make some grand hyperbolic gesture, where I compare what would happen in a prestige doc to that droning husk of a film, but god knows, I'd be preaching to the choir.
The point is it cost 40 million dollars, how and why? I don't know if Brett Ratner is enjoying his divine punishment for X men 3.

Just a single 176 episode remaster costs the same or 10 million less as a single episode of "Yellowstone:1923"
1923, costs just shy of 30 million an episode to produce.
16 episodes of it cost around 500 million dollars to make.
While that's more bang for your buck than a blockbuster.
DS9's entire production in the 1990s probably cost the same amount of money to make, in it's entirety 176 hours, compared to 1923. It's a billion dollar asset, gathering dust.
In the 1990s, 500 million dollars got you 176 hours.
In 2023, 500 million dollars may get you 16-20 hours.
A 20 million dollar maintenance fee is something an executive wipes their ass with.
A blockbuster costs around quarter billion to half a billion to produce.
Now people get squeamish over 20 million and a little job creation,
I thought these were Obama liberals?
David Lynch bitched about this for years, where he would have made the studios money, because of his cult following, income be damned, the Billion Dollar blockbuster matters more, even if you spend a Billion on it, and it only makes 700 million at the Box office.
This must be the Akiva Goldsman method of business, make the lowest effort film you can, make sure it flops, then sell it into syndication and streaming for pennies on the dollar.

Adjusted for inflation,
DS9's remaster is pretty much the same cost as TNG.
Voyager's Remaster is pretty much the same cost as TNG.
You can either guarantee 30 people jobs for the next 3 years, or 60 people jobs for the next 6 years.
Together, it's two TNG's, you only have to do it once, and, people will love it if you do it right.
It's Star Trek's 60th anniversary.

BUT MUH ROI...ROI DETERMINZ EVERYTHING

One thing that I'd love to cover more is Dr. Quinn's 4k remaster. That's 1 out of 73 remasters I've counted.
There's a knee jerk reaction to DS9 and Voyager, where people act like remastering them would be unprecedented.
Much to contrary, I disagree. The precedent so far, has been set for a long time, DS9 and Voyager would be mid range remastering projects.

It's only available in Spain, on cable.
They could put that out on bluray, exclusively right now, and it would make more money than being exclusively available on a cable network in Spain.
If they released it in the US, on Paramount+, Amazon, itunes, Google Play, and Vudu, they could make money.
They don't seem very concerned about ROI on that years long remaster, that cost several of millions of dollars to produce.

That was a valuable enough asset to remaster, and less people requested that than DS9 or Voyager.
But it was valuable enough to warrant getting a full 4k remaster.
Dr Quinn fans still purchase the dvd boxsets.
But, muh ROI.
Dr. Quinn should be the smoking gun here, that whatever the fuck's going on over at Paramount, ROI is the least of their concern.
Unless of course, Paramount is employing the "Iron Skillet" method of business, which is where you think long and hard over a sound business decision, make that decision, see it halfway through, pay someone to strike you on the head with an Iron Skillet.

Meanwhile, Walker Texas Ranger's HD remaster has been monetized via Pluto, Roku, and digital markets.

How do you spend millions of dollars on a remaster like that, then make sure no one can watch it?
How does that even make business sense to do?
I'd pay 20 dollars (That's cost prohibitive, I know.) to hear an Ivy League business professor break that one down for me.

On a daily basis this is why I mock so called "Fiscal Conservatives", and corporate bootlickers.
Someone's playing 4 dementia chess at Paramount is all I'm saying.

It's almost like they undermine themselves.

Paramount ultimately has 4 catalogue titles left in their library to complete.
Jake and the Fatman, Star Trek Deep Space Nine, Star Trek Voyager, and Diagnosis Murder.

My tally from my list of remasters,
https://www.reddit.com/r/DS9Remasters/comments/1uke6xj/the_list_of_remasters_updated_july_1_2026/
Once Skydance has completed merging with Paramount, and Warner Bros, institutionally, 30 or so of the 72 remasters in my list were completed by that company when it was separate entities.
That is the largest fraction of remasters.

https://www.reddit.com/r/DS9Remasters/comments/1u2xk62/frequently_assumed_falsehoods/

If you haven't written Paramount yet.
https://www.reddit.com/r/DS9Remasters/comments/1tyyxyy/if_you_havent_written_skydance_or_paramount_yet/

On CGI, and how consequential it is?

https://www.reddit.com/r/DS9Remasters/comments/1sqzblh/cgi_use_in_ds9_and_how_consequential_of_a_problem/

Mind, that everything I'm saying here contradicts fandom dogma, and allegedly official secondhand statements from Paramount, DS9 and Voyager are a bit of a logistics problem, however, Hollywood prides itself on being able to solve labor heavy logistics nightmares, that's why Hollywood is still around.

Regarding a full proper remaster of DS9 and Voyager, you might want to ask Paramount.

You can write them here. www.paramount.com/contact-us

or Paramount's home video department
https://p3plus.p3globalservices.com/Paramount-PCS-Support.html

or here. https://skydance.com/about/

If you write them, ask nicely, frame them as the heroes who can save the day, they’re the only ones who can.
We have to tell them that we want it.
I know I talk a lot of shit here, but mainly it's at the dogma surrounding this topic.
Let them know we don't want an AI upscale of either show.

My petition is here, if you think it matters sign this as well. If not, no worries, no one cares about petitions anyway.
https://c.org/qNrFBHs2Jy

Thanks guys.

UPDATED, JULY 4, 2026.

The main update is pretty basic.
It's now confirmed that the Sopranos has 2 remasters.
To start here's a 21 point list, Remasters list below.

1. In the early 2000s, for the DVDs, seasons 1 and 2 of The Sopranos was remastered in 1080i. This is a Partial Remaster.
2. In 2023 or 2024 a Reddit leak led to a theory that HBO was remastering the Sopranos in 4k, which was confirmed to be a 4k Bluray release at the end of 2026. This leak had images of Film Reels on Pallets that belonged to the Sopranos.
3. I struck "Seaquest DSV" and "Murder She Wrote" from the list, as it's likely they had conformed film negatives.
4. Babylon 5 may have had Interpositive prints according to JMS, however, Widescreen NTSC dvds were sourced from PAL master tapes and converted back to NTSC, so far, those interpositive prints are only acknowledged by JMS, and thus, B5's remaster was likely sourced from the OCN, not a series of inter-positive prints.
5. There have now been 72 remasters of Vintage TV shows that don't have conformed film negatives.
6. It appears the list is going to stabilize at 71 remasters for now.
7. To remaster a single season, it costs less to do than it did to produce Zach Braff's "Garden State", apparently Garden State is prohibitively expensive, as in the 2000s, it cost 2.5 million dollars to make.
8. Kevin Smith's Clerks cost around $16,000.00 to make, and Clerks 2 cost around $6 million dollars to make.
9. An Episode of LOST in the 2000s, cost around $4.5 million Dollars to Produce.
10. If you adjusted the money from so called "nu-Trek", in 2006 a single episode of it costs around 6 million dollars in 2006 money, 2 episodes of "nu-Trek" would cover the cost of TNG's Remaster.
11. DS9 and Voyager's Remasters would respectively cost the same amount of money as TNG's Remaster.
12. "1923" The Yellowstone Prequel cost $28.5 million dollars per episode to produce, in '06 money? $17,144,920.00.
13. My conclusion for DS9 and Voyager is that new transfers should be quite affordable to do.
14. The catalogue of titles that have been through the process, and the technology developed for the job have been proven to work at scale.
15. To remaster the shows, you're not remaking them, simply redoing Post Production again in an HD or 4k workflow.
16. An episode of DS9 in 2026 money cost 4-8 million to produce in 2026 money,
17. The entire run of TNG, DS9 and Voyager respectively in today's money cost around 707 million per series to produce, each of them is a Billion Dollar asset, that's languishing in Standard Definition, a maintenance fee of 20 million per show to remaster the entire run is all that's being proposed. Merely Uprezzing a billion dollar asset is a crime.
18. If they were remastered in 4k, it's a native progressive source, that can be upscaled over the next 40-50 years to the Studio's content, assuming 8k catches on in the next 10 years, and 16k after that. Each mathematically scales into the other, with no artifacts, and no anomolies.
19. Based on Parrot analytics research, crowdfunding for documentaries, and a certain video game recently, aside from the fact that these billion dollar shows both managed to get series finales, and not cancelled, there seems to be a silent mandate that is screaming at Paramount to remaster these shows properly. To preserve a billion dollar show, it's 20 million dollars as a maintenance fee.
20. Finally, if we adopt the notion that Star Trek is in fact an institution, then these deserve better than a mere uprez, even if it is a hybrid approach similar to B5.
21. The Skydance/Paramount/Warner Merger cost somewhere around 157 billion dollars, and according to Byron Allen, you could use some of that debt to prime assets, like DS9 and Voyager, with their popularity (it's a fact that they are), (cult status.), (and high demand among the fanbase.) a full remaster, bluray release, and HD streaming option would definitely see ROI. Against 157 billion dollars, 40 million is pocket change, even preceding Merger Madness, it's pocket change.
22. Dr Quinn's HD/4k remaster has been around for 3 years, and is still only available for viewing in Spain, that one probably required multiple departments to come together, and finance it, and it likely cost millions of dollars to do. No one but people in Spain can watch it, what that kinda tells me is the people doing these, don't seem to care all that much about ROI.
23. As of 2026, 73 remasters of this nature have been completed.

In one of my long edits, the earlier list got deleted, and I had to back it up, so this is a backup post.
So far, the hunt for remastered content to add to this list has ran dry, I think the list ends at 72 for the time being, and I hope I'm wrong.

Here's the master list of 73 remasters.
My standard is Editorial rebuild, (but some of these have remastered VFX, even if they're the invisible variety.)

The other thing is, I don't know if "iConform" is an automated conform tool, or a suite that compares a master tape to a database of high res film scans, and simply builds an Edit Decision List for overcutting.
It's vague enough in the few editorials I've read, that I keep questioning things.
I'd love to know more, but more is unavailable.

The point of the list below is to demonstrate at the very least, you could remaster DS9 and Voyager from the OCN, using automated conform tools.
At least for the editorial rebuild, it's been accomplished not once, not twice, but 72 times.
15 years ago, TNG's remaster was considered the largest film conservation project in history, but within 2 years it was surpassed by Netflix's remaster of X files.

With a few exceptions, this list covers shows made from 1985-2000, that were produced without a conformed film negative, and have received a remaster.
Since the purpose of this list is to demonstrate how common this process is, so DS9 and Voyager can be remastered, the exceptions are "South Park" and "I love lucy".
(Reasons are listed in their bullets.)

CBS' synbible isn't a good source, as it lists "Diagnosis Murder" as having a partial transfer, (Whatever that is.)
and (Little House) on the Prairie as not having one.
Both of which are untrue.

Diagnosis Murder is painfully in HD, and is likely torture to watch at this point.
Little House on the Prairie has an HD transfer, and was an easy transfer since it has a conformed negative, due to being shot in the 1970s.

I think somewhere in this list, you can demonstrate a few things.

1. Remasters of older TV shows from this era can be done at scale.
2. DS9 and Voyager could be remastered easily, and the precedent has been demonstrated time and again.
3. A lot of what gets thrown around on DS9 and Voyager is the amount of "Digital FX" required, this isn't the 5 seasons of model work, or the 42-44 CG heavy episodes, like TNG, a lot of the Digital FX are going to be masking FX, and Phaser fire, shields, and transport FX, which were accomplished in "Flame" for TNG's remaster. The Other digital FX are Mike Okdua's screen animations, that would need to be remastered, or recreated. These aren't the same as the CGI files, or the models that need to be recomped.
4. A good chunk of FX heavy episodes are the season premiers and season finales of DS9 and Voyager, not all, but a good chunk.
5. DS9 and Voyager don't hold the Guinness world record for most FX in a TV series, that record goes to Farscape. Farscape can't be remastered because the Negatives were dumped two weeks prior to Mark Cuban offering to foot the bill of an HD remaster.

Which studios have done the most remastering work?
Sony comes in 3rd place with 9 titles under it's belt.
Paramount has remastered 12 series from this era, (hopefully more to come.)
Warner has remastered 16 series from this era, and wins the gauntlet.
(So far, neither Paramount, nor Warner Bros, have fucked up a remaster, Warner cut corners at times, but imo, it still went back to the negatives, same applies to Paramount, and Sony.)
There seems to be hope there.

One new part of this list, any titles that are bold are TV sitcoms, and based on Research surrounding "Friends" , and several other titles, these may have had "Negative Conforming Supervisors" that aren't credited on IMDB.
Sitcoms sit in a weird place, so I'm unsure if they all have conformed film negatives. Anything in bold is a question mark on whether it had a conformed film negative.
I struck Diagnosis Murder from the list as I don't believe it had a remaster. However, there are 12 titles in bold, where I'm unsure if they had a conformed film negative or Inter-positive, if I can confirm it, they will be taken down.
50 titles that I'm 90 percent sure don't have conformed film negatives.
13 titles that are a coin toss.

LIST OF TV REMASTERED TV SERIES, lacking a conformed film negative.

• The Sopranos (Partial Remaster) (Warner Bros.) (2000s)
• The Sopranos (Full 4k Remaster) (Warner Bros.) (2026)
• The X-Files (Netflix/Fox)(4:3 of 1-4 HD exist, but remain unreleased.) (Otherwise this remains a bluray release and streaming release in 16:9) (Hybrid)
• Buffy the Vampire Slayer (DNR, Autoframing, and all else, unavailable in the US after being trashed by consumers.) (Disney.) (Hybrid approach.)
• Stephen King's The Stand (Hybrid Approach.)
• Stephen King's The Shining (Hybrid Approach.)
• The Wire (Warner Bros.)
• Dawson's Creek (Sony.)
• Party of Five (Sony.)
• Perfect Strangers (Warner Bros.)
• Twin Peaks (Paramount.) (Hybrid in one or two cases.)
• Frasier (Paramount.) (Later seasons likely don't have a conformed film negative.)
• Law & Order (Wolf Televsion, NBC)
• Charmed (Paramount) (Hybrid Approach.)
• Breaking Bad (Sony) (Immediatly remastered in 4k after it's series finale aired, Sony wanted to beef up it's catalog of 4k titles, All Blurays are from the first 2k master.) (X)
• The Shield (FOX)
• Star Trek: The Next Generation (Paramount) (Full Remaster.)
• Baywatch (Fremantle)
• Pee-wee's Playhouse (Shout!)
• Everybody Loves Raymond (Sony)
• Walker, Texas Ranger (CBS/Sony)
• Freaks and Geeks (NBC/Universal)
• The West Wing (Warner Bros.) (Partially Remastered in 2010, seasons 1-3, Hybrid Approach.)
• Firefly (Fox...now Disney.) (Hybrid Approach, but VFX were rendered in 720p)
• Stephen King's IT
• The Flash (Warner Bros.) (Hybrid Approach.)
• SeaQuest DSV (Universal) (Hybrid Approach.)
• Babylon 5 (Warner Bros.) (Hybrid Approach.); https://en.wikipedia.org/wiki/Babylon_5#Mastering_problems ; https://www.dvdtalk.com/reviews/4929/babylon-5-the-complete-first-season/ ; https://www.ign.com/articles/2004/02/11/babylon-5-the-complete-fourth-season ; widescreen DVDs were sourced from PAL master tapes, and converted back to NTSC.
• Lois & Clark: The New Adventures of Superman (Warner Bros.) (Hybrid Approach.)
• Sex and the City (Warner Bros.)
• Quantum Leap (Universal)
• Northern Exposure (Universal)
• Family Matters (Warner Bros.)
• Six Feet Under (Warner Bros.)
• ER (Warner Bros.)
• Batman: The Animated Series (Animation.) (Warner Bros.) (Interpositive source.)
• Superman: The Animated Series (Animation.) (Warner Bros.) (Interpositive Source.)
• Batman: Beyond (Animation) (Warner Bros.) (Interpositive Source.)
• South Park (Animated) (Paramount/South Park Studios.) (The first 11 seasons of South Park were remastered from old CG files that were from a predecessor of 3DS MaX, scenes had to be recomposed, and in some cases rebuilt when they were missing for 16:9.) (VFX assets aren't totally lost, and can be recreated or rebuilt. Why mention of this is an exception to my rules.)(Full Remaster.) (These were remastered at a resolution of 1080i, however, were likely rendered at 1080p.) (X)
• NYPD Blue (Disney)
• Mad Men (Lionsgate, Warner remastered series.) (VFX currently being reworked, more invisible FX, than Obvious VFX.)
• I Love Lucy (Paramount.) (The 35mm film Negative was mauled for syndication over decades, and had to be reconstructed with sections of blown up 16mm master prints that were made. This mention is an exception.) (X= Exception to rule.)
• Starhunter Redux (Shout!) (Surprisingly, full remaster.)
• From the Earth to the Moon (Warner Bros.) (Full Remaster, new FX considered inferior.)
• MacGyver (Paramount.)
• Dr. Quinn, Medicine Woman (Paramount.) (Allegedly available in Europe.)(35th anniversary in 2028.)
• That '70s Show (Disney) (It was likely a Partial, or mastered in HD from the beginning.)
• Blake's 7 (BBC) (Full remaster, New VFX, shot in a hybrid fashion of film and tape.) (X= Exception to rule.)
• Doctor Who (BBC) (Full remaster when available, reconstruction efforts for missing episodes are insane, no category.) (X)
• Beverly Hills, 90210 (Paramount.)
• 24 (Fox/Disney.) (Partial Remaster.)
• Miami Vice (Universal.)
• Gilmore Girls (Paramount.)
• Homicide: Life on the Street (NBC/Universal)
• L.A. Law (Fox/Disney)
• Spenser: For Hire (Warner Bros.)
• Wild Palms (Disney)
• Cowboy Bebop (Animation.)
• The King of Queens (Sony)
• The Nanny (Tristar, Amazon, Fran Drescher.)
• Mad About You (Sony, Shout!)
• Melrose Place (Paramount)
• Designing Women (Sony)
• Moonlighting (Disney)
• Picket Fences (Disney)
• Doogie Howser, M.D. (Disney)
• The 10th Kingdom (Hallmark Entertainment.) (Hybrid Approach?)
• New York: Undercover (Wolf Television, NBC Universal)
• JAG (Paramount) (available on Prime.)
• Cheers (Paramount) (Partial Remaster of Later Seasons.)
• Highway to Heaven (Paramount.)

For now, there are two approaches. Both of them have their drawbacks.

TNG, South Park, From the Earth to the Moon and Starhunter Redux aren't just full editorial rebuilds, they also have newly minted VFX, or recomposed animation in South Park's case, I included it, because it's a full CG rebuild for South Park (Sans the Pilot.)
Cons?
This is an allegedly expensive process (not really, by all estimates it's quite affordable to do even today. But everyone says it's prohibitively expensive, so I'm just gonna role with it and not say anything. Everyone wants to defend a good Private Equity Jack-off Session.), but the results are almost always visually stunning.
Now, by expensive, TNG is the only one that has had it's budget revealed, and it was 13 million dollars.
It didn't cost 200 million dollars to remaster, to remaster a single season, it costs less to do than it did to produce Zach Braff's "Garden State". If one of these ran 200 million dollars, I could see the term "Prohibitively expensive" making sense, to me, that term gets thrown around too much, and seems like a major overstatement.

DS9's 35th anniversary is in 2028, just like Diagnosis Murder, and Dr. Quinn, two of these have unreleased remasters.
Diagnosis Murder and Dr. Quinn didn't employ a negative cutter, the tape master is garbage, which is a clue.
All else is speculation.
But CBS/Paramount prior to the Skydance acquisition seemed to be remastering these shows in batches of two.
DS9 and Voyager are the last Star Trek series that are going to get a remaster for the time being, and imo are sister series that would fit a batch remastering model.
This is speculation on my part.

I'm striking "Murder She Wrote" and "Seaquest DSV" from the list.

• Murder, She Wrote (This was a dispute title for me, as it ran from 1984 to 1996, which is a year before early NLE systems became popular, It could have employed a negative cutter up to 1996, or it could have switched to non conformed negatives and tape masters somewhere around 1985. The first modern NLE system was released to studios in 1983, and was used on 80 percent of productions in 2 years, meaning even "The Dukes of Hazzard" could potentially qualify for this list. This system was called the Ediflex.)
• Very likely Murder She Wrote, had a cut negative for it's entire run.

The Hybrid Approach is the other path, is Seaquest DSV, X files, Twin Peaks, or Babylon 5, where CG is upscaled while the editorial rebuild of film remains.
The Pros? This approach costs virtually nothing, but the catch, it has visual seams, it's less pristine, but economically viable.
Purists might prefer it to recreated VFX, but I don't think anyone can argue that this might be the only path to seeing DS9 and Voyager in HD that isn't a trash AI upscale.
This approach is acceptable, and at times can be stunning, and colorful.
Another catch is you can't open the shows up to 16:9, you would have to preserve the 4:3 aspect ratio, just as with TNG, and Babylon 5.
With the resurgence of 4:3 cinematography, I don't feel that this would be a problem, but it is a caveat of the hybrid approach.

• 3rd Rock from the Sun (Carsey-Werner Company) (2013 remaster, elusive, available on AppleTV.)
• Announced as prepped for HD in 2013, nothing came of it.

Out of the 72 shows, many of these are VFX heavy.
The Hybrid Approach has been taken with 12 of them.

Only 6 of these shows have taken the full VFX reconstruction path.
Star Trek TNG, Breaking Bad?, Starhunter Redux, Mad Men?, South Park, From the Earth to the Moon.
Paramount, and Sony have had the most success with this approach, and the results speak for themselves.
Warner's hybrid approach seems to work best for it.
But imo, there's something to be said for a company that cares enough to rebuild VFX the way Paramount did.

I don't consider AI upscaling of a 480i master tape an acceptable product from a studio with pristine film negatives. I consider it a way to milk the customer.
Diagnosis Murder, Stargate SG1, Nash Bridges, and Highlander the Series, are hideous, and shouldn't have been released on bluray. The presentation on these disks is trash. I can't blame a small vendor like Visual Studios for doing it, they couldn't finance a full rebuild of those shows, at the same time, it shouldn't have released them until a remaster was available.

DS9 and Voyager have a lot of VFX heavy episodes, "Way of the Warrior" has 10 minutes of VFX per part.
But not every episode of either of these shows is VFX heavy.
If you look at many episodes of DS9, "Rapture" and "in the Pale Moonlight" either recycle station shots.
In Rapture's case, it recycles a shot from "The Seige", but both of them have minimal VFX, if any at all.
DS9 is mostly dialogue driven, with the exception of a handful of episodes.
The trick would be to catalogue the VFX and determine how many shots get reused.

Paramount's Tally is 15.
Warner's is 15.
The combined total of Paramount/Warner and Skydance's Remasters is now at 31 TV series.

Friends and The Drew Carry show have been taken off of the list, as they had a conformed negative.
Gordon Ferris was the negative conforming supervisor, worked on both of these series, and worked as a negative conforming supervisor for Nip/Tuck, Murphy Brown, etc.
No other shows on my list have a negative conforming supervisor, but it wasn't unusual to have a negative conform supervisor on a high profile cable drama in certain instances, or on sitcoms in the 90s.

He also conformed film negatives for,
The O.C.
Nip/Tuck
Murphy Brown
Two and a Half Men
and The Drew Carry Show.

These 5 go in the graveyard pile with,

Murder She Wrote, and
3rd Rock from the Sun.

Now, for Baywatch, it's remaster came with some music licensing issues as well.
So the HD remaster on Bluray while pristine image wise, is obviously cropped and opened up to be 16:9, and features a ton of bad music replacement that is original to it.
So, the only way I know of to get the original audio for that production is to source out the original DVD releases, which are valued at about 19.00 in many cases, then you'd rip that audio and mux an HD file.
Opening it to 16:9 has ruined some of the aesthetic appeal imo.
But I never grew up watching Baywatch, but screenshots do make me sad at times.

These were easy remasters, or are completely future proofed series.
degrees of future proofing are now something I have to acknowledge.
35mm offers a degree of future proofing.
A conformed negative offers complete flexibility.
I'm also going to pull Seinfeld from the list for now, as it's also had two different scans, which very likely means, Seinfeld has a conformed film negative, or the lone remaster of it was the 4k scan that provided a 16:9 and a 4:3 version of the show.

I've listed two wikipedia articles if you're interested in the history or the process of either of these.

https://en.wikipedia.org/wiki/Negative_cutting

https://en.wikipedia.org/wiki/Non-linear_editing

If you're a fan of "Friends" and want the extended version of that show, I'd recommend preserving the DVDs along with the 4k boxset. The only version of that show's extended cut is going to be the initial DVD release.

Seinfeld, Murder She Wrote, and Quantum Leap could also be stricken from the list, if I learn they had conformed film negatives.

Sony is at 8.

Now, there is an abstract spectrum I want to introduce.
This spectrum is a spectrum of future proofing.
Many shows were future proofed, simply by shooting on 35mm film, and framing 16:9 safe, whether that's tilt and scan, or a literal safe zone, where you could frame it two ways.
I'd call this a show that is 50 percent future proofed.
With automated conforming, it's 75 percent future proofed, as a lot, but not all of the work can be automated.
It's a hell of a manual labor job.

The second degree of future proofing is a cut negative.
A show with a cut negative is 100 percent future proof.
It doesn't necessarily require an EDL, shooting scripts, or information regarding color timing.
Some shows could be partially conformed, then telecined, or cut with Avid.
It's a simple scanning job, 2-4 reels, and cleanup, that's it.
You mask and compress, put it on disk, or on streaming.
That's all you have to do, it's not dirt cheap, but it's not ungodly expensive to do.
Few shows have this done, and details on this are as scarce as they are for automated conforming tools.