Fang Zei said:
Another thing I’ve been meaning to ask about is the difference in how this 4k project of the trilogy is being scanned in to begin with versus how it was done for the previous go around (SSE, ESB Grindhouse, RotJ).
On the original TN1 35mm project page, I remember seeing a photo of a print being scanned in using a homemade scanner that was basically just a DSLR. IIRC this resulted in light leaking through in certain shots (the Death Star conference room comes to mind).
For the 4k projects, I’m assuming actual professional grade scanning equipment was used?
The equipment has been upgraded more than once since that footage was shot, but we’re still using a homemade ‘scanner’. What started out with some parts from an old VCR moving the film and a digital still camera, is now a full size standard 35mm cinema projector with a 4K Black Magic camera (and special lens) pointed directly into the projector. Film is captured in realtime - optical audio too, using the same Dolby circuit boards that they used at the cinema, attached to the projector.
It’s not as good as using a Director, or an Arriscan, or something like that, obviously - no tripple flash, no dirtmaps. But one advantage is that by using a real 1980s bulb and a real projector, the colors we capture are pretty close to what you would see at the cinema. The grain is still a little more front and center than it would be reflected off the silver screen, and we have to monitor the process to keep the shutters in sync (this can be computer controlled, but we’re not there yet), but on the whole it provides a pretty authentic experience.