Dek Rollins said:
I would say that my only things to pick with what I’ve seen of Legacy are as follows:
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The grain reduction. I prefer 35mm grain over the negative, and even when he’s using 35mm prints, he’s reducing the grain to achieve a near negative medium.
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The opening crawl. After I saw the crawl preview on his vimeo, I just thought, Why would you do that? I mean, the crawl losing detail as it goes further up the frame is the natural fade into black. He even said that he doesn’t want to change anything internally, and I would say that is doing exactly that.
Other than these nitpicks, I am really liking how the previews look, aside from the color grading of course, and I am looking forward to more news.
I felt the same way about the registration problems he fixed in the starfield and engines etc. in the approach to the Death Star shots. I mean what he’s done constantly astounds me, literally astounds me, and I love watching his videos, but once the restoration gets to that point it starts to become a change, at least for me. Just because you can ‘fix’ something, etc. If the matt lines are left, then the occasional registration errors should be left too as they’re a by-product of the tech. of the time, and to this film. Agree with the opening scroll comments too for the same reasons. Having said all that, the work he’s put into this is staggering. I truly hope Disney hire him and hand over the negs 😉 My ideal restoration would be all 35mm grain left unaltered, colours as close as possible to how they would have been seen back when (though I guess you’d almost need two different versions at this point depending upon which print was being referenced!), and only the scratches and wear and tear eliminated. No fixes to errors caused by the photochemical processes of the time. But everyone naturally has differing viewpoints on their ideal. I still live in hope the one day we’ll all be able to see Mike’s Legacy edition in full.