Originally posted by: THX in PRESERVATION AND FAN EDITS >STAR WARS RELEASES AND ONGOING PROJECTS
This post from home theater forum summarises the key issues discussed above about the state of the negatives and restoration work.
Originally posted by: Davis in GENERAL STAR WARS DISCUSSION>HOLD ON a second...
In the September 1993 issue of Widescreen Review, THX Technical Supervisor Dave Schnuelle describes the process of making the Definitive Collection Laserdiscs. Here are some comments from the interview:
"In this case, for all three films, we used interpositive elements that had been made directly from the camera negative. Other film transfers might be done from internegatives made from the interpositive, or from low-contrast prints, but we preferred the IP's for these transfers, because that's the earliest generation usable"
"One small difference from the original films is that in letterbox transfers we prefer to put any subtitles in the black border beneath the actual picture area. Thus we didn't use the same interpositive as the theatrical one, because that one contains subtitling already. In tracking down the elements, we found that the only ones in the vault were ones with subtitles- these clearly weren't the first generation off the camera neg because they had to have the subtitles burned in. So a massive search was undertaken and the first generation IP's were found in a special vault having only opticals in Los Angeles."
"A Mark IIIC with a 4:2:2 digital output [telecine] was used."
"[We used] a noise reduction and dirt concealment device made by Digital Vision, a company in Sweden. Their DVNR-1000 is a very powerful noise reducer for reducing film grain. Especially on the two earlier movies the film grain was very high."
This post from home theater forum summarises the key issues discussed above about the state of the negatives and restoration work.
Originally posted by: Davis in GENERAL STAR WARS DISCUSSION>HOLD ON a second...
In the September 1993 issue of Widescreen Review, THX Technical Supervisor Dave Schnuelle describes the process of making the Definitive Collection Laserdiscs. Here are some comments from the interview:
"In this case, for all three films, we used interpositive elements that had been made directly from the camera negative. Other film transfers might be done from internegatives made from the interpositive, or from low-contrast prints, but we preferred the IP's for these transfers, because that's the earliest generation usable"
"One small difference from the original films is that in letterbox transfers we prefer to put any subtitles in the black border beneath the actual picture area. Thus we didn't use the same interpositive as the theatrical one, because that one contains subtitling already. In tracking down the elements, we found that the only ones in the vault were ones with subtitles- these clearly weren't the first generation off the camera neg because they had to have the subtitles burned in. So a massive search was undertaken and the first generation IP's were found in a special vault having only opticals in Los Angeles."
"A Mark IIIC with a 4:2:2 digital output [telecine] was used."
"[We used] a noise reduction and dirt concealment device made by Digital Vision, a company in Sweden. Their DVNR-1000 is a very powerful noise reducer for reducing film grain. Especially on the two earlier movies the film grain was very high."