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Escape From New York [spoRv] *BD-25 RELEASED* — Page 10

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MGM is beyond recoverable imo, once you go black, you don't come back

Crushed blacks, you can't gamma correct at all

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Snake Burton said:

MGM is beyond recoverable imo, once you go black, you don't come back

Crushed blacks, you can't gamma correct at all

 Agree totally.

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Too much involved in other projects... but it will be done (sooner or, probably, later)!

Sadly my projects are lost due to an HDD crash… 😦 | [Fundamental Collection] thread | blog.spoRv.com | fan preservation forum: fanres.com

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 (Edited)

Snake Burton said:

MGM is beyond recoverable imo, once you go black, you don't come back

Crushed blacks, you can't gamma correct at all

 Can you prove the blacks are crushed? Cuz I am pretty sure that are not.

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Irrespective whether the blacks are crushed or not on the MGM, the Scream offers more picture information on the sides so should be used for this reason.

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I disagree, who says the Scream is correctly framed? 

Plus it's encoded by Stevie Wonder, and if you are rencoding something you need to start with the best qualitysource. 

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The fact is it shows more picture, the more the better, John Carpenter and Dean Cundey are well known in making sure every inch of the full frame widescreen was used without dead space when filming their movies. The Hdtv was closer to the Scream as well framing wise which is why it was used instead of the MGM in v1.0. The whole point in the SpoRv v2.0 is to fix any errors with the Scream and I thought it has already been agreed the Scream should be used, The MGM is way to dark and like Snake Burton has said is crushed and beyond fixable and fixing the Scream will be way more fun to play with. Laserdisc Master has already asked which scenes need to be fixed in the Scream as well.

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Totally disagree, there is no proof for any of your point.

It's all conjecture but since its not my project I will keep it to myself.

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x5gb said:

The fact is it shows more picture, the more the better, John Carpenter and Dean Cundey are well known in making sure every inch of the full frame widescreen was used without dead space when filming their movies. The Hdtv was closer to the Scream as well framing wise which is why it was used instead of the MGM in v1.0. The whole point in the SpoRv v2.0 is to fix any errors with the Scream and I thought it has already been agreed the Scream should be used, The MGM is way to dark and like Snake Burton has said is crushed and beyond fixable and fixing the Scream will be way more fun to play with. Laserdisc Master has already asked which scenes need to be fixed in the Scream as well.

 I just put him on ignore, no need to reply to him based on his so called expert opinion

He does this on another forum too, just argues baseless facts

I'll take a picture of my EFNY collection today, pretty sure I have 10 copies on hand

:D

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This project is still the best presentation of the film.  The MGM is too dark and the Shout is too bright.  The HDNet broadcast still rocks and even BBC America uses the exact same master for their broadcast.  HDNet and BBC America both use the original audio, but presented in multi-channel.  I believe HDNet was the first to do that, but either way it's made from the original 2-channel mix and does not include the changes made for the DVD and BD remix.

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Never got into the fight of which version is best. I still don't have the Scream version to compare. I do have the MGM but spoRv's version has always been my default. Regardless a 35mm print went up for sale recently (already sold) and although pictures of print can't be used as a definitely basis of what a movie looks like, its a bit of a clue. Here is what the pics looked like: 

Can anyone post pics from the scream to compare?

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Those 35mm samples look a lot like the MGM BD but without the issue of being too dark.  That's the main issue with the MGM transfer... just too dark.  The Shout transfer is too contrast boosted and bright.  The spoRv remains the winner but I'd love too see a scan of this 35mm version. 

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Snake Burton said:

I'll post later today

 Thanks Snake Burton. Here is what I have (may not be the same frame)

MGM DVD/MGM BD/spoRv BD/Shout BD/35mm frame/UK BD

(Updated with Snake's pic of the Shout BD)

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_,,,^..^,,,_ said:

UK BD is really ugly...

 Agreed. Looks like yours is the closest which is fine by me since that is the one I watch. Still curious to see what the Shout looks like. Especially to see if it has the slight blue tint of the 35mm, if the 35mm pic is to be trusted.

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PDB said:

_,,,^..^,,,_ said:

UK BD is really ugly...

 Agreed. Looks like yours is the closest which is fine by me since that is the one I watch. Still curious to see what the Shout looks like. Especially to see if it has the slight blue tint of the 35mm, if the 35mm pic is to be trusted.

 

Sorry bro, I'll get it sorted today some time lol

I have 10 copies of teh movie ranging from LD to BD and the TV Rip

To me the Shout factory one wins but only with its own issues, which is forgivable, as its the lightest untouched copy available

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Wow, those captures really illustrate the problem with most transfers of this film.  HDNet really came through for the fans.  Thanks for the preservation once again, Andrea.  Long live spoRv!

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HDNet did something i haven't yet to see with EFNY, it's the most balanced of all, I like Shouts because you can tinker with it, what I don't like is some of the other bad stuff that came with it, ie lines in the middle of the print on certain scenes

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Why do they never use the entire framing? I'm puzzled, it's a cinemascope film, so the scans should be edge to edge, using all available information. Why zoom in?

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 (Edited)

PDB said:

Snake Burton said:

I'll post later today

 Thanks Snake Burton. Here is what I have (may not be the same frame)

MGM DVD/MGM BD/spoRv BD/35mm frame/UK BD


EFNY
photoupload


I could not frame match but this should suffice for the SF comparison

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interesting, the 35mm seems somewhere between the Shout and MGM. The MGM is obviously too dark, but is the Shout still too bright?

The spoRv looks too bright too.

I wish I could see a 35mm projected - isn't the Rialto DCP basically the same as the Shout transfer but in 4K?