Notice in that shot, King Nod still has an earlier design to him, and the drawing of Zigzag is also a little more tentative than the confident lines you'd see later. It's an early shot used in all the documentaries, and it's a nice one.

I've decided not to color correct any shots in my edit, and leave the Miramax transfer looking as it does.

Originally, when I ripped the video, I had MPEG Streamclip darken and lower the saturation on every shot automatically. This made the film look more like you'd expect it to.

But it also screwed up the color. The encoder couldn't handle really saturated reds and things, and it rendered them as blocky-looking. To get the full quality out of the video, I couldn't change a thing.

Which also meant I couldn't fix the interlacing so that it would deinterlace properly. MPEG Streamclip can't seem to handle interlacing without horribly screwing it up when it rips the video.

So, getting this film into 24p looking good was a pretty painstaking process.

I ripped the video both ways. One, with the interlacing fixed, but blocky reds. One, with nothing changed.

I inverse telecined both versions. The result was a good looking transfer that screwed up horribly on the interlacing every fourth frame, and a clean transfer with the occasional blocky reds, in scenes that are very red all over.

I combined the two through editing. I took out every fourth frame of the one with interlacing problems and replaced it with the clean transfer. So you get a shot which looks good, and sometimes has mildly blocky reds every fourth frame, which you don't really notice.

I only did this for a few shots originally, as it was a time consuming process and I was doing it by hand. I eventually figured out a way to kind of automate the process, and did the entire second half of my edit this way. When I go back to finish part 1, I'll be doing it for part 1 as well.