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Film elements for the OT

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I have some questions regarding the film for the original "Star Wars" trilogy.

Does anyone know the full history of the film elements, such as the negative, interpositives, release prints, etc?

I seem to recall reading an article in 1997, around the time of the release of the Special Editions, that generally stated the following. No preservation or archiving of "Star Wars" had been attempted until after it's initial run had been completed. This was primarily due to no one expecting "Star Wars" to be any kind of success. The dirty, deteriorated negative was used to make a 3 color separation master for archival purposes. This separation was what was what was used to make the Special Edition. Unfortunately when this separation was retrieved from the archives, the master for the yellow layer was found to be underexposed (possibly due to the fading of the yellow dye in the original negative prior to seperation master being made). As I recall the writer of this article was lamenting that "Star Wars" would never again appear as it did in 1977 due to the underexposed yellow master, and as a result true blacks would appear more blue.

This article, as I recall, seemed to also indicate that this fate had not befallen "The Empire Strikes Back", or "Return of the Jedi", as these films were archived correctly, based on their expected success.

Would there have been any reason to destroy the original negatives, or any archival material in the process of creating the Special Edition? I've seen many movies that retrieved footage from "the cutting room floor". In fact, isn't that where the Luke and Biggs hangar scene came from?

I just feel like I'm missing something here. I'm hoping someone will be kind enough to post the process of how the film goes from camera negative to the final prints we see in the movie theaters, and maybe relate that to why it's believed that the making of the Special Edition would involve the destruction of some of the film elements.
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There's a lot of information in the Home Theater Forum thread, but you have to scan through about 13 pages to find it all.
"It's the stoned movie you don't have to be stoned for." -- Tom Shales on Star Wars
Scruffy's gonna die the way he lived.
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Thanks Scruffy,

I'll take a look at that.
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http://www.theasc.com/magazine/starwars/index.html

Here's something I stumbled on by way of the National Film Preservation Board. Might be interesting....
"It's the stoned movie you don't have to be stoned for." -- Tom Shales on Star Wars
Scruffy's gonna die the way he lived.
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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."
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Originally posted by: Torsten Kaiser at Home Theater Forum
While a D2 (composite) master tape most likely was the source for the Laserdisc mastering itself, the transfer master and the final master was actually (as far as I know) a component digital D1 tape. Another option would have been Ampex' DCT. Both are very much comparable to the Digital Betacam format. Because of its 4:2:2 component properties, D1 actually is able to capture detail and resolution that the 4:2:0 DVD format because of the way of compression can't even show. For one, the Datarate is with 148 Mbit/s far higher than the 10.88 Mbit/s of DVD. So its not the tape itself that one needs to worry about.

What is a much more a factor is the telecine that was used. Transfers made with the RANK MarkIII pale in comparison with the SPIRIT Datacine or the Millenium II, where the image is dramatically more detailed, allows for much finer texture to register naturally and color depth to be captured without bleeding, while keeping inaccuracies to a minimum. The RANK, while good for its time, had many problems, especially when it came to displaying the greyscale and density accurately. The DVNR 1000 by Digital Vision also added a lot of artifacts whenever there was movement in a shot, and (as Jim Vaccaro said already) it also robbed the image of detail along with the grain, that SW producers so desperately tried to get rid of (also a problem of the RANK telecine, by the way, because grain was often displayed as artifact).