It'd be interesting to watch the Full Aperture print of The Shining, seeing as Kubrick always framed his movies for both TV and Cinema. Plus, a Full aperture print will lend itself to a very impressive IMAX scale as the framing is beautiful from the 35mm film cells that I've seen.
Kubrick hated 1.85:1, and wanted 1.33:1 to 1.66:1 for almost all his films except 2001 of course. Here's an interview that settles that once and for all -
http://www.dvdtalk.com/leonvitaliinterview.html
Thanks to j9young from myspleen.org for providing a link in his comment on the page for the Shining open matte dvd.
AMC is showing the movie this coming Friday. Is anyone in a position to record it? More than likely it's the "edited for tv" version which Kubrick oversaw the changes to. The main differences are Jack's overdubbed profanity, and fog surrounding the Room 237 ghost.
Where were you in '77?
For those of you not following this elsewhere, things are on track for scanning to be done before the end of the year.
Where were you in '77?
I hope you guys scan the Shining print Full frame without any cropping and release it like that with basic stabilisation, scratch removal and brightness adjustments (a release print is printed with high contrasts to counteract the bulb brightness. The projected appears different than a direct scan of the same print). The colour and brightness of the Blu Ray is about right, though the Blues tend to be shifted to violet on most release prints because of the dye being like that.
In any case, I am very interested in this version as I am with a future open matte release of Jurassic park.
Full aperture and wetgate are the plan.
I’ll be happy to see the pink tennis ball corrected. Curiously, the “edited for tv” airing on AMC fixes this.
Where were you in '77?
Full aperture and wetgate are the plan.
I’ll be happy to see the pink tennis ball corrected. Curiously, the “edited for tv” airing on AMC fixes this.
Very good. Please also release it full aperture and not cropped to widescreen. There needs to be a Full uncropped release of The Shining as Kubrick wanted. We already have a perfect widescreen HD master on Blu Ray. There is no need for another widescreen release. Now we need a Full Aperture HD release with nothing cropped, just stabilised, brightened if its too dark and colour corrected to approximate the projected print brightness and colour which as I said earlier, differs from that of a direct scan of the release print. The yellowish bulb would not only brighten the dark parts that would appear on a raw print scan as black crush, but the bulb would also change the colour timing of the print to a more warm/yellow push. And the Blues would always appear to be slightly violet. This should be the aim in the final release. Of course, scratch removal, etc are there as well.
Anyway, it’s a mammoth effort so all the best guys. I would have loved to contribute, but unfortunately I don’t have a credit card. Hopefully I will, someday.
Full aperture is the plan. We may see more than we bargained for though. If Stanley is in the edge of a shot glaring at Shelly Duvall, we’ll see it. 😉
Where were you in '77?
That will be so great (laughs)! Educational as well, ha ha.
Full aperture is the plan. We may see more than we bargained for though. If Stanley is in the edge of a shot glaring at Shelly Duvall, we’ll see it. 😉
May I request a picture of you dancing with the bear guy in this movie, just for giggles?
😉
Full aperture is the plan. We may see more than we bargained for though. If Stanley is in the edge of a shot glaring at Shelly Duvall, we’ll see it. 😉
May I request a picture of you dancing with the bear guy in this movie, just for giggles?
😉
It’s actually a dog according to the new book on the movie I read recently.
And be careful what you wish for. 😉
Where were you in '77?
Full aperture is the plan. We may see more than we bargained for though. If Stanley is in the edge of a shot glaring at Shelly Duvall, we’ll see it. 😉
Another thing I would ask you guys and those who are scanning the print - After you are done making the wet-gate scan and archiving it digitally, project the print with the proper 35mm film projection bulbs if possible (type of bulbs used in theatres) and take photos of the print in running condition, ideally on a Canon DSLR which preserves the proper colours (unlike Nikon which has a slight cool tint). These photos will help you in restoring the colours of the print to its ideal projected look, i.e, colour, brightness, contrast, et all.
EDIT: I am sorry I forgot it’s a faded print. Then there is no way to know how an actual print would have looked. But I think the final image should be something that is slightly warmer than the Blu ray. That is just a guess.
I FOUND SOMETHING - https://www.youtube.com/watch?v=gA8O8yi8lSw
Its an ad for a 35mm screening of The Shining. The fact that it has a different AR and warmer colours than the Bluray suggests me that this is a sample of the actual print they had shown. But it can be from the widescreen DVD as well, I do not know.
Taking photos of a projected image does nothing to show you the colours, whether a Nikon or Canon DSLR, the camera settings completely change the colour balance, which is why when we do photo shoots we always have a color-chart in shot.
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Ok. Good to know. But how does this colour chart work? I want to learn, that’s all.
The other thing here is that the print is faded. So it’s not colour accurate anyway. What other sources will you guys be using to find the proper projected print colour and brightness?
I have seen a Telecine (not telesync) of a 35mm release print of Interstellar which is completely different colour-wise to the Blu Ray or DVD. The telecine has a warm yellow-green look with more sunburnt skintones which is very similar to how most photochemically timed prints appear when projected with warm bulbs, while the DVD and Bluray has a cooler blue-ish tone. The telecine looks absolutely gorgeous colour wise, and now when I look back at the BD or DVD, I find them uninteresting to look at.
The gold-toned image is what we’ve come to associate with photochemical prints and 35mm screenings. And as I said earlier, even the Blues in the prints look somewhat violet/purple shifted.
Ok. Good to know. But how does this colour chart work? I want to learn, that’s all.
The other thing here is that the print is faded. So it’s not colour accurate anyway. What other sources will you guys be using to find the proper projected print colour and brightness?I have seen a Telecine (not telesync) of a 35mm release print of Interstellar which is completely different colour-wise to the Blu Ray or DVD. The telecine has a warm yellow-green look with more sunburnt skintones which is very similar to how most photochemically timed prints appear when projected with warm bulbs, while the DVD and Bluray has a cooler blue-ish tone. The telecine looks absolutely gorgeous colour wise, and now when I look back at the BD or DVD, I find them uninteresting to look at.
The gold-toned image is what we’ve come to associate with photochemical prints and 35mm screenings. And as I said earlier, even the Blues in the prints look somewhat violet/purple shifted.
Bury your feelings Papai … they do you credit, but they could be made to server the emperor.
😉
Jetrell Fo said:
Bury your feelings Papai … they do you credit, but they could be made to server the emperor.😉
Huh ?? I did not get you.
Jetrell Fo said:
Bury your feelings Papai … they do you credit, but they could be made to server the emperor.😉
Huh ?? I did not get you.
I was being humorous about all your obvious passion for what’s happening. These projects are in good hands and the people doing them have the knowledge to do them proper justice. When I read your posts, and I’m not saying anything bad here, all of your requests for things you want to see are a little overwhelming at times.
I’m not saying anything mean, I’m just saying I think these folks know what you know and have already considered the options you’re requesting when they took on the projects. They already know what they and the fans want to see.
I jut think your obvious knowledge would be better served by answering questions from those who may not understand the process as you and the project people do instead of requesting everything you may want to see from these projects.
No disrespect meant or intended, just my opinion as a reader and follower of these wonderful projects.
Cheers Papai, keep sharing the knowledge, it helps people get a glimpse at what goes on behind the scenes.
Oh, Thanks! I try my best. 😃
EDIT: I wonder why the smileys do not show. It’s a “smile” smiley by the way.
Ok. Good to know. But how does this colour chart work? I want to learn, that’s all.
Not to get into it here, but read this and it will give you an idea:
http://www.newsshooter.com/2015/10/30/the-colour-chart-re-invented-xrites-new-colorchecker-video-is-designed-for-better-exposure-and-balance/
Donations welcome: paypal.me/poit
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Help get The Original Trilogy preserved!
Ok. Good to know. But how does this colour chart work? I want to learn, that’s all.
Not to get into it here, but read this and it will give you an idea:
http://www.newsshooter.com/2015/10/30/the-colour-chart-re-invented-xrites-new-colorchecker-video-is-designed-for-better-exposure-and-balance/
Thanks!
Sorry, double post.
Now that Spleen won’t allow movies anymore, what is to become of this restoration. Will it be completed and see the light of the day. Will it be uploaded elsewhere?
I’ve been told the scanning is still in progress. Hopefully, it will be finished this month.
Where were you in '77?
interested in this very much…such a good movie
I’ve been told the scanning is still in progress. Hopefully, it will be finished this month.
Great! Where will this be uploaded?