I think you can also (if you like to) get in touch with FemboyFilms on YouTube and Twitter for some assistance. He just came out with a fully restored version of “Super Mario Bros. - The Great Mission to Rescue Princess Peach!” from 16MM film
https://twitter.com/femboyfilms
https://www.youtube.com/channel/UCC0VagcnThjj1nxlbf6btYQ/about
I think you can also (if you like to) get in touch with FemboyFilms on YouTube and Twitter for some assistance. He just came out with a fully restored version of “Super Mario Bros. - The Great Mission to Rescue Princess Peach!” from 16MM film
https://twitter.com/femboyfilms
https://www.youtube.com/channel/UCC0VagcnThjj1nxlbf6btYQ/about
FemboyFilms is who got me in contact with this scanner in particular actually lol. If I need help with restoration I will 100% ask for help and maybe even let them do a public release if they’d like similar to SMB if it’s too much for me to handle
Fantastic! Looking forward to this!
Don’t forget to keep the red tint during the climax where Rob is stuck on the conveyor belt. Director Jerry Rees told me in a Facebook message that it’s supposed to be there, but the PAL DVD took it out entirely, for reasons that fail me.
Bridger12 said: Don’t forget to keep the red tint during the climax where Rob is stuck on the conveyor belt. Director Jerry Rees told me in a Facebook message that it’s supposed to be there, but the PAL DVD took it out entirely, for reasons that fail me.
Now that you mention that I’m wondering if the B Movie scene was supposed to appear darker. It might be my imagination but in the US version it looks like the picture was darken for the musical number and then after it the colors reverted back to normal and in the PAL version the colors don’t really look like it changed at all. After hearing the red tint was intentional I feel like that might also be possible.
Don’t forget to keep the red tint during the climax where Rob is stuck on the conveyor belt. Director Jerry Rees told me in a Facebook message that it’s supposed to be there, but the PAL DVD took it out entirely, for reasons that fail me.
https://i.slow.pics/0jDMJS83.png
Yep I will keep note of that. On the print this part is tinted red
Don’t forget to keep the red tint during the climax where Rob is stuck on the conveyor belt. Director Jerry Rees told me in a Facebook message that it’s supposed to be there, but the PAL DVD took it out entirely, for reasons that fail me.
https://i.slow.pics/0jDMJS83.png
Yep I will keep note of that. On the print this part is tinted red
What about the rest of the scene? I think it should pretty much match the North American DVD.
Don’t forget to keep the red tint during the climax where Rob is stuck on the conveyor belt. Director Jerry Rees told me in a Facebook message that it’s supposed to be there, but the PAL DVD took it out entirely, for reasons that fail me.
https://i.slow.pics/0jDMJS83.png
Yep I will keep note of that. On the print this part is tinted red
What about the rest of the scene? I think it should pretty much match the North American DVD.
Some more screenshots:
https://i.slow.pics/CleVlNgM.png
https://i.slow.pics/zKmS76rW.png
Don’t forget to keep the red tint during the climax where Rob is stuck on the conveyor belt. Director Jerry Rees told me in a Facebook message that it’s supposed to be there, but the PAL DVD took it out entirely, for reasons that fail me.
https://i.slow.pics/0jDMJS83.png
Yep I will keep note of that. On the print this part is tinted red
What about the rest of the scene? I think it should pretty much match the North American DVD.
Some more screenshots:
https://i.slow.pics/CleVlNgM.png
https://i.slow.pics/zKmS76rW.png
https://i.slow.pics/0jDMJS83.png
Unfortunately, all three of those frames actually have the PAL DVD colors that removed the red tint.
This is what Jerry Rees told me:
“My art director Brian McEntee and I worked out a progressive increase in the red tint - which builds as the action gets more intense, then fades once Toaster has successfully stopped the crusher. But the film lab kept trying to take the red out. Very frustrating. Brian had to keep tabs on them for every shot - letting them know that his carefully chosen series of filters had been mounted on the camera shot-by-shot, so the negative would permanently hold our intentions. But the lab was so used to “normalizing” live action footage, rather than accepting the purposeful stylizations of animation footage that they never truly got out of the way. The film print we showed at Sundance looked very close to what I had hoped for. The Disney home video release (which introduced a side-to-side wobble throughout the opening that was NOT in our original footage) at least kept my basic intention for the red - although they didn’t go through a true color balance check with Brian and me.”
Highly recommend going with 2 encodes for this one: full frame and theatrical 1.85. It was animated to be seen in the latter ratio.
Highly disagree. I think they should go for a 1.66:1 ratio for this film, as it’s typically how Disney distributed films would be. 1.85:1 was a common matte in America but I feel it would cut out too much info in this particular case. 1.66:1 would be the best to keep a cinematic feel while also keeping in mind the intended matted ratio (which as far as I’m aware, isn’t known; just that it was matted to a widescreen format in film festivals).
Highly recommend going with 2 encodes for this one: full frame and theatrical 1.85. It was animated to be seen in the latter ratio.
Highly disagree. I think they should go for a 1.66:1 ratio for this film, as it’s typically how Disney distributed films would be. 1.85:1 was a common matte in America but I feel it would cut out too much info in this particular case. 1.66:1 would be the best to keep a cinematic feel while also keeping in mind the intended matted ratio (which as far as I’m aware, isn’t known; just that it was matted to a widescreen format in film festivals).
Now now, don’t be so hasty there; I didn’t say I was opposed to 1.66. In fact I welcome that because it’s also a valid theatrical ratio. It’d undoubtedly work here. That said, 1.85 or 1.66 would technically be correct!
I didn’t realise this thread existed when I posted about this scan in the other TBLT thread.
Anyways it’ll be good to finally watch the film in 4K (if it was scanned in 4K)
This first film definitely needs more love, it hasn’t even gotten a Blu-ray release nor a release on Disney+ even though its 2 sequels are on there, although I believe its absence on D+ is due to international rights issues (I think Disney owns only the American rights to the film)
I hope the raw scan files are available sometime soon.
a guy who minds his own business
Am I allowed to share a link here for contacting writer/director Jerry Rees, in case any of you have any questions about how TBLT should be restored?
Am I allowed to share a link here for contacting writer/director…
Maybe not so much a problem of not allowed according to forum rules but is probably not a good idea as this is a totally open public forum. Ya don’t even have to be a member here to look at posts. I would think someone who worked so prominently on a theatrical release film of this stature wouldn’t want his contact info so open, but perhaps he’s more a unique case and wouldn’t mind?
LightWave = fun times with gfx for me 😃
I think it would be a good idea to consult the director just as a general guidance for this project. I mean heck, I think he’d be down for a fan remaster if no big company wants to handle it! That said, I wouldn’t take his word as gospel, as we all know how directors can screw up their own films by revising them (Star Wars and LoTR for instance). But if we could get an idea of the vision for how it would be screened, and how the color grading is meant to be, it could be a big help for a start. I’m very much interested in seeing this project come to fruition, as it’s one of the most important animated films of our time, and deserves a proper remaster.
Venny, could you please message me the link for the proxy file you have? I want to show it to Mr. Rees. I think the restoration should be director-approved.
From my Facebook conversation with writer/director Jerry Rees:
I knew that even though my primary intention was for a theatrical release with a 1.85:1 aspect ratio, it was destined to eventually have a life on home video, which was 4:3 at the time. (little did I know it would only have the home video life)
So I made sure that our compositions for every shot worked in both formats. We’d start with a 1.85.1 composition that worked dynamically, then extend the drawing above and below to fill a 4:3 frame. To be sure that we were being honest with ourselves, I didn’t allow the use of the transparent all-aspect-ratios chart that was usually laid over top of the drawings. When you can see through the chart, and perceive extra information that will not actually be visible to the audience, you can make mistakes in judgement. Instead, I had the two aspect ratios cut into black cards that would register to the pegs on the desk, and mask out everything except for what was visible within the frame. This “no cheating” approach helped us be more dynamic.
The PAL version destroyed the intentional slow increase of red filtering through the section where Rob is in peril. If you look at the ONE SHOT where the masher teeth are lowering down, but stop just above Rob’s hand, you can see how intense the red was supposed to be before fading back to normal as the danger stopped.
I think it would be a good idea to consult the director just as a general guidance for this project. I mean heck, I think he’d be down for a fan remaster if no big company wants to handle it! That said, I wouldn’t take his word as gospel, as we all know how directors can screw up their own films by revising them (Star Wars and LoTR for instance). But if we could get an idea of the vision for how it would be screened, and how the color grading is meant to be, it could be a big help for a start.
That’s why Jerry is also bringing the movie’s art director Brian McEntee in on the project.
I think it would be a good idea to consult the director just as a general guidance for this project. I mean heck, I think he’d be down for a fan remaster if no big company wants to handle it! That said, I wouldn’t take his word as gospel, as we all know how directors can screw up their own films by revising them (Star Wars and LoTR for instance). But if we could get an idea of the vision for how it would be screened, and how the color grading is meant to be, it could be a big help for a start.
That’s why Jerry is also bringing the movie’s art director Brian McEntee in on the project.
That’s good then. I’m glad to hear that
I think it would be a good idea to consult the director just as a general guidance for this project. I mean heck, I think he’d be down for a fan remaster if no big company wants to handle it! That said, I wouldn’t take his word as gospel, as we all know how directors can screw up their own films by revising them (Star Wars and LoTR for instance). But if we could get an idea of the vision for how it would be screened, and how the color grading is meant to be, it could be a big help for a start.
That’s why Jerry is also bringing the movie’s art director Brian McEntee in on the project.
Wait, are they actually gonna help us with this restoration?
That’s amazing!
a guy who minds his own business
I think it would be a good idea to consult the director just as a general guidance for this project. I mean heck, I think he’d be down for a fan remaster if no big company wants to handle it! That said, I wouldn’t take his word as gospel, as we all know how directors can screw up their own films by revising them (Star Wars and LoTR for instance). But if we could get an idea of the vision for how it would be screened, and how the color grading is meant to be, it could be a big help for a start.
That’s why Jerry is also bringing the movie’s art director Brian McEntee in on the project.
Wait, are they actually gonna help us with this restoration?
That’s amazing!
Yep. However, Jerry is currently busy with other things right now. Maybe in a month or two.
What a privilege. Sounds great.
In that sample clip you provided, there is one frame of Kirby that came from the PAL DVD. What are you going to about that and other missing frames from the film print? The PAL and NTSC DVDs were obviously cropped, and it looks too jarring and inconsistent to watch a movie and see a cropped frame from another source suddenly pop up.
If there’s a missing frame, I’d imagine he would be able to reasonably borrow it from the DVD (or upscale) and fill the rest in with information from surrounding frames. Absolute worst case just duplicate a frame to keep sync with audio.
