Because censorship was wrong then, and it is wrong today, and while the censorship does not represent the film community’s views on preservation, it needs to be preserved along with the uncut versions, because to do otherwise would be the same as claiming the censorship never happened.
I guess here’s to hoping one day Paramount will release the IMAX cut of MI4. IMAX is the big thing right now and with Dune 1 & 2 allegedly getting a IMAX disc release maybe maybe maybe …
Not as long as Brad Bird has his way.
It was. I can’t think of a reason for 1985 being stated on that print, though.
If Disney would ever treat Mary Poppins the same way they treat Song of the South, it would be nothing but a cultural crime. Enough is enough. You can’t just take every classic and look for the crazy reasons to label it as “wrong” - sometimes you just need to enjoy the movie and shut your mouth up, because there is what to enjoy, especially when it comes to masterpieces like this. Getting offended is a decision.
Back to Song of the South - if you are really that sensitive to take offense from a movie about a nice, clever and positively-portrayed black man telling folklore tales to children of both races and encouraging their friendship - just don’t watch, instead of telling people that they shouldn’t even be ABLE to view it.
But, Oh man… you need to work on yourself a bit.
Hear, hear!
You might as well say the exact same thing about Mary Poppins (“hottentots”, anyone?).
PM sent.
I knew there was something up with the added authentication gate over the 35mm scans project page! People like this leaker are why we can’t have nice things.
Its most likely pal videos so it’ll be hard to sync the English audio.
Actually, all that needs to be done is slow down the PAL videos and, in the words of the great Albert Arkwright, j-j-jiggle it a bit.
Unfortunately, real life has gotten in the way like I failed to anticipate, so the project is on hold indefinitely. Still going to do it, though; when a preview is ready, I’ll post it here.
How do you figure? I mean, they both have the RKO logo paired with the reissue credits, for one similarity.
I’m starting to feel like the 60th Anniversary master is the best of the modern masters for Dumbo. Is it possible that it and the 1995 laser videodisc master are one and the same?
The series finale of Riders of the Silver Screen last weekend on my PBS station showed a restored print of The Mechanical Monsters before the feature (which, incidentally, was a Republic oater with Wild Bill Elliott called Bordertown Gun Fighters). I could tell immediately that it was an older WB restoration and not the Mild-Mannered Edition, because while Lois’s outfit as she’s starting to fall out of one of the robots is brown (like it’s supposed to be) and not pink like in the recent restoration covered by Damn Fool Idealistic Crusader, it still uses the closing audio error endemic to the WB restorations on most of the shorts.
This project seems dead in the water, and the project host ran off with the funds.
Nothing new, nothing lost.
Sour grapes, much?
If it is, leave it like it is, as David Wilcox would say.
No, this project is not dead; in fact, when I get my digital copy of the 35mm scan, I will use that as my color reference for future versions.
Yeah, it’d be in the same speed as North American film prints.
@MonkeyLizard10 I’m interested, too. Thanks!
There’s no “speeding up” or “slowing down” of film, it’s shot how it is. You can run the camera slow or fast and get the result that when played at 24fps you get fast or slow motion. Toy Story was rendered frame-by-frame for standard 24fps projection.
Quick question though, I know that when films are in other countries that speak English, the Region code (PAL for example) speeds/ pitches the film up on DVD and VHS. Being that this is an Australian film reel that is being scanned was the same process applied before it was given to Australian theaters or would it be the same speed as a North American reel and the speeding up/ pitching up only happens after the movie is released on DVD/ VHS in English speaking European countries? PAL is the region code for Australia as I found out.
I would think so, yes.
I’ve just donated a dollar towards this scan. It’s not much, but as you said, every little bit counts.
DTS and Dolby were at war for the digital cinema sound landscape at the time (as was SDDS); there were exclusives on all sides, with Sony (naturally) in the SDDS camp; Universal, New Line, and MGM using DTS; and Warner Bros. (with the exception of a single Steven Seagal actioner that used DTS) and Disney going with Dolby. AFAIK only Fox and Paramount used all three of the major digital sound formats at the time.
For film-out, they would most likely have sped up the footage slightly to fit within the 24fps rate of 35mm film.
I can now confirm that the first batch of releases will take place sometime in Q3, most likely in July or August. The following features will be released as part of this first batch:
HOUSE OF WAX
JURASSIC PARK
THE MAD MAGICIAN
THE WIZARD OF OZ
A trailer for the entire batch will be released sometime in July, along with individual previews, a behind the scenes look at the Inficolor production process, and fullscreen-widescreen comparisons for certain features.
ETA: I just realized that on my current MEGA plan, I can’t release very many features all at once, so I’ve pared things down quite a bit for this first batch.
Absolutely!
Are you sure you had HDR on when you capped the images?
A good Charlie Brown 4K project, for example, would be to try and restore A Charlie Brown Christmas so that, if nothing else, the original Coca-Cola sponsor tags are retained.