Baronlando said:
frank678 said:
Looking at the comparison shots between the GOUT and Technidisc, the GOUT looks almost like its been bleached. Is this a combination of fade and DVNR or are there other factors involved?
I was wondering if that source was turning yellow and then correcting that ended up making it kind of blah?
My DVD transfers poor white balance also contributes to making it look more yellow than the actual LD really is. I actually think the elements used was turning pink/red at this point, the telecine operator may have tried to counter this with a bit of yellow and green.
Baronlando said:
It's weird that they even bothered to do that quiet repressing, the box came out so close to it.
Yeah, I don't recall exactly when it was done, maybe mallwalker could chime in, it may have been issued when the DC LD set was in production. It seems like this IP was first used when they produced the 1992 Special Letterbox Collector's Edition VHS.
Some interesting backstory about this source for those who haven't read it, THX Technical Supervisor Dave Schnuelle regarding the process of making the Definitive Collection Laserdiscs In the September 1993 issue of Widescreen Review:
"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."
