Frankly there will always be a few Calvert inventions in there.
And the new workprint is the greatest thing ever. Hope that answers your question.
When Yumyum asks, "Where can my cobbler be?" I can finally see the wind-waving flowers that are the only thing animated in the scene - these were in the Camera Test Reel that Our Source donated, and I wondered what shot that was from.
All hail the Emule workprint. Can't wait for a Boniface cleanup of it.
Interestingly, it's missing a few seconds at the beginning ... not that that matters, but it is.
This great clarity gives me a few more ideas for how to do the opening shot. I could use a lot of this workprint's version since it's so nice and shows some really hypnotic motion, but I probably won't since it's mostly pencils.
Because the workprint has no true 3:2 pulldown, they seem to have "smudged" the deinterlacing slightly from one frame to the next, which is also exactly what I did with mine, except mine didn't look 1/10th this good.
Oh, wait ... I think this version was like that to begin with or something. It's remained at 25 frames per second, the PAL standard. No, they probably did deinterlace it though. Hm.
I think the fact that it's PAL explains the artifacts on the yellows. PAL loves the color yellow, doesn't it? - it can make yellows overly bright. Thought I read that somewhere.
That first pencil test shot of Tack looks great now. I'd rather like to use it.
And Patrick is right - from behind there's a mirror next to Yumyum in the bath, from the front you see MeeMee instead. Strange. Also, in the second to last shot, Meemee seems to have put on a lot of weight.
(I kind of think it's Meemee delivering the last Yumyum line - "Maybe something died.")
This transfer was done recently on professional equipment - older professional equipment though. There's a "dropout" in the Thief stealing Yumyum's shoe which is not so much a dropout as an offlock and picture roll, looking like an old-style error well handled by newer equipment.
There are a few shots early in the war machine sequence where I always thought, what the hell IS that? Because it was just garbage in my copies. It is what I thought it was - a second, very dark shot of One Eye soldiers being lifted into position. Looks nice now.
Another dropout in the Maiden from Mombassa - fixable.
Lot of pops and screwups in the sound. This'll take some work. Fixable.
The sound level drops down to nothing in the exact same place it does on every other copy of the workprint I've ever seen ...
"Yes Roofless, you stay here!"
But the sound is so clear that for the first time ever, I can actually make out Hilary Pritchard's delivery of this line. I don't know if I can use it, but I can certainly try to clean it up and use it.