Harmy

Yeah, it's always like that, we're missing some of out best players too.

Anchorhead said:

* Is it any wonder I can't really get people to understand that we have intelligent discussions regarding Star Wars preservation issues and that we aren't a bunch of geeky basement dwellers...."yeah, the other day, I was talking to Chainsaw and Zombie and we ....."

;-)

LOL to that :-)

Just to prove a point: The first two couples of pictures are examples of digital restauration (looking pretty much the same but without dirt and excessive dupe grain and fading - it's not a perfect example becuase the 2004 "restauration" wasn't very good but it should give you the idea) and the other three are examples of digital recompositing (looking substantially different, missaligned and being in no way representative of what was achived at the time the films were created).

I'm not normally into sports at all but being Czech, I like to watch the World Hockey Championship. Are you American guys out there watching? We kicked your ass so hard!!! ;-D

Thank you, I'm glad you enjoyed it.

I must admit, that going through it again, there are some places where the skin tones are too red, particularly in the Hoth battle. I guess I got so focused on getting it closer to the saturation boosted GOUT, which in itself is red-shifted, that I lost perspective. I still maintain that I really  like most of the colours though, especially Dagobah and most of Bespin, so I won't be making a new version just for that. And anyhow, anyone can do what you did and turn the saturation down a bit when watching it B-) But anyway, I'm trying to avoid this issue in STAR WARS as much as possible.

Well, of course, but in theory, if done right, it shouldn't :-)

That's great :-D

^ What Zombie said is exactly what I said before but in better words!!!

And in the shots that were originally planed to be optical composites, the generation loss is absolutely minimal, because they used 70mm film to shoot the blue screen elements and then they composited all the elements one by one on one film strip. So only one generation was lost and that was compensated for by using the 70mm film. So it is quite possible that a lot of the original finished composites were just as clean as the live action photography, if not even cleaner due to being handled in lab conditions only.

Don't worry guys, I can take some criticism. Actually I think I need it. With all the positive responses I'm in danger of becoming a little full of myself and I wouldn't want that ;-) 

That's because NTSC is inferior in most technical aspects, so it's no problem for a PAL player to play it back

;-) <----

PM sent as well :-)

Baronlando said:

It seems like directors and cinematographers are often lamenting how inconsistent or just wrong a lot of release prints were back in the day, and how frustrating it was to get the black/dark areas to look right and for every print to be uniform, or how they would fade quickly or start to turn weird looking after a long run, etc. 

All descriptions from the ROTJ Luke hologram seem to be gone.

Also, I think in this shot, a shadow of Rancor's hand was added to the background:

I'm sure Mark Hamill was not bright orange, when they filmed the sunset shot, but I'm quite sure the sun illuminating him was. I'm also quite sure he didn't have a sickly greyish skin during the shoot either. I'd say his skin probably looked something like it does in the pictures on the right:

People got so obsessed with the sunset shot, that no-one even commented on these. You can't honestly tell me that these are oversaturated. Look, even Fredie's skin is more orange than Luke's in those pics.

PM also sent :-)

And Zombie never said anything about garbage mattes, we're talking about matte lines, which are something completely different. Garbage mattes weren't (reportedly) visible in cinemas and as such shouldn't be present in a proper restoration (well shouldn't be visible that is, in a really good transfer, they should be invisible but should show up if you unnaturally increased the brightness, just like they would on a print).

PM sent :-)

Well, that's why I put "based on evidece" in brackets after "I think." Seen through this logic,  most even scientific facts are speculation - they are conclusions based on some kind of evidence. And while there is evidence that points towards the richer colours, I have yet to see any proof of the opposite.

Thanks for backing me up on this, Zombie - I'm just trying to make the colours closer to what I think (based on evidence) they originally were.

I would be disappointed to no end if they released what they'd call the "original" versions and there were recomposited shots in it, maybe even more than them not being released at all actually. It may actually make me weep a little. The recompositing for me may be the main (yet far not the only) thing that pisses me off about the SEs. I just can't wait to  be able to admire the original FX shots (just as they were created in 77, 80 and 83) in HD and recompositing totally ruins that.

I'm not much of an audiophile, so I wouldn't really mind if all the original mixes weren't included, but I'd of course prefer if they were.

Thanks, Zombie :-)

1) Sue me if you want but I like the original version of Blade Runner better, and among other things also because the original FX look far more interesting because they have matte lines and stuff.

2) I definitely wasn't trying to be hostile. When I said I cringe while reading your posts, I wasn't trying to be an ass, I was entirely literally serious. It reminds me of you other thread - When people think that recompositing VFX constitutes restoration (especially people on this site, which is all about film preservation) it actually makes me fell depressed. Seriously, it saddens me, it doesn't make me angry, it just makes me sad.

PM sent :-)

OK, here goes, I darkened the technicolour picture to more reasonable levels (only brightness and contrast, nothing else) and tried to approximate the colours of that: