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LucasGodzilla

User Group
Members
Join date
14-Mar-2019
Last activity
25-Nov-2020
Posts
34
Web Site
https://forum.fanres.com/user-1389.html

Post History

Post
#1387174
Topic
Big Trouble In Little China (John Carpenter, 1986) – 35mm Scan opportunity (a WIP)
Time

So it’s been a while since the last update.

Long story short is I was waiting on some stuff, and that wait time sort of got extended. I was first waiting on an SDU4 mix from the optical, which thankfully has been made available to me not long ago.

I’ve also been very recently working on a new proper color grade for the scan since the previews were done by someone else from the scanner’s end since they have access to the hard drive. And while I am glad those previews were made, I admittedly am not a huge fan of how the colors looked on them (muddy black level and looked too warm overall, resulting in unneutral highlights and tealer blues). Thankfully though I was able to gain access to a handful of raw frames to work with in Resolve and produce a new grade.


Doubt it’s perfect (especially since I recall someone mentioned the lightning looked cyan on their screening) but I’m at least more content with how some of it looks. I am asking a more recent 70mm eyewitness on the matter about the grade’s “accuracy”.

However, I still don’t have the hard drive with the raw scan files myself still (had to ask to be sent these frames over the web for color testing), so I won’t able to produce a proper MKV release for some time until Hellraiser gets funded (since both scans will be sharing the same drive), so do help with that if anyone’s interested: https://originaltrilogy.com/topic/Hellraiser-Clive-Barker-1987-35mm-Scan-Opportunity/id/79222

Post
#1383584
Topic
Hellraiser (Clive Barker, 1987) – 35mm Scan Opportunity
Time

Happy Halloween Everyone!

Would like to inform donors that a Reel 1 preview is available to see now!

Send me a PM if you’re interested.


Even though the color grading is not finalized (won’t be until I get my hands on the RAW files at the end of it all), it’s clear right off the bat that there are far more photochemical blues overall than the Arrow BD and looks very stylish in many shots.

Here’s a little test to show what it looks like with a bit more adjustment (though again, not at all final)


It’s definitely been reminding me as to why I’ve been wanting to pursue this movie for a while now.

Anyways, with all that said, this project is still only half-way to getting the funding needed to get the whole print scanned, so please donate if you’re interested and want to check out the first reel!

Post
#1378388
Topic
Hellraiser (Clive Barker, 1987) – 35mm Scan Opportunity
Time

Since Big Trouble In Little China is nearly finished ( https://originaltrilogy.com/topic/Big-Trouble-In-Little-China-John-Carpenter-1986-35mm-Scan-opportunity-a-WIP/id/75450 ), I thought I’d start talking about the next preservation on my roadmap. A movie that got me started into fan restoration work in the first place: Hellraiser

Here’s the nutshell. One day, I stumbled randomly across a post on the Blu-Ray forum about how the Hellraiser 2K restoration put out by Arrow looked practically nothing like its 35mm counterpart (https://forum.blu-ray.com/showpost.php?p=15869547&postcount=562 ).

[JohnCarpenterFan said:]

I recently managed to get my hands on a well-preserved archival print, watched it, took some scans, made sure they were representative of how it looked correctly projected and compared it with the Arrow Blu-ray.

Be aware that I really liked the Arrow Blu-ray despite the peculiar grain, and didn’t have any problems with the color timing… When I watched this print, I couldn’t believe my eyes. This film when viewed on film looks absolutely incredible, very stylish, quite a lot of blue lighting. I had no idea this film looked that good, home video has just done it a complete disservice.

One thing I will say is that this print was not grainy at all, even in low-light conditions there was nothing out of the ordinary, I wasn’t even aware of it most of the time.

When I flicked through the Arrow disc not long after, it looked flat and orange compared to what I had seen, it looked ugly and noisy. In the scene where the cenobites appear at the hospital, the room in the print appeared more blue with Pinhead’s skin also being bathed in blue which helped draw attention away from the make-up, on the Arrow the room is more neutral and the make-up job on Pinhead really stands out. Also in a scene near the end (see last picture below), in the print, there’s clearly blue lighting in the background and the characters directly in front of the camera are covered in a warm glow from a fireplace (IIRC), yet on the Arrow, everything is again flat and orange.





And having seen his and his screencaps, I can never unsee just how horrid the Arrow master really is in comparison. All of the stylish blue flair and whatnot is just dull, neutral, and lifeless! It’s very much akin to how Fox treated BTiLC.

This led me down a sort of train of hobby work for a while over on FanRes ( https://forum.fanres.com/thread-2497.html ) where I tried to regrade with Arrow BD with those five 35mm stills above as well as a gallery of other stills provided from the same guy below.

The results were mixed admittedly. Although I did come out with a release of the regrade, I was never truly happy with the results for a variety of reasons.

The first big reason was that I was brand new to the community and I was still trying to figure out how to approach this project. The long story short in that regard was TomArrow being basically my mentor as he watched me continually struggle trying to piece together basic stuff (though I am very thankful that he was a very patient person and stuck around). Since then though, I’ve learned some newer techniques and stuff that’d helped me a lot back then.

The second biggest reason was that there was a lot of educated guessing involved which I didn’t like to do since I had no idea how the colors were supposed to be handled for scenes outside of those stills and I couldn’t tell what was fading or photochemical color grading more often than not. Although there is a laserdisc that does respect the 35mm color grading, I have no means of ripping it even if I could get my hands on it.

On top of all that, there was still the weirdly harsh grain issue in the BD that I had no way of really fixing easily without accidentally DNRing detail. At the end of the day, it was a bit of a mess that I hoped to revisit someday.

Fast forward a few years later when I stumbled onto some celluloid-pertinent opportunities, I noticed that this movie was on the books with a low-fade high-quality print.

A perfect opportunity to finally be able to see how the whole movie looked in 35mm for the first time and in 4K no less!

Calculations had roughly estimated the project costs to be $1000 to cover rental, shipping, scanning and a hard drive.

As usual, I’ll start with pledges, though I’ll make a PayPal Pool if it looks like we can overcome the initial cost hurdle.

Post
#1375962
Topic
Big Trouble In Little China (John Carpenter, 1986) – 35mm Scan opportunity (a WIP)
Time

Reels 4 and 5 are now up in the Mega folder!


Want to mention that although the wear of the print is definitely coming through with the higher prevalence of scratches, the scan can still serve as a perfect reference for regrading the Fox or Euro master!

So again, if you want to help see this project through and check out the previews now, help donate today!

Post
#1375820
Topic
Dark Knight - 35mm preservation project opportunity (a WIP)
Time

KokoNigel said:

According to this screencap at Caps-a-Holic, https://caps-a-holic.com/c.php?go=1&a=0&d1=11844&d2=11843&s1=116732&s2=116718&i=12&l=0, it appears that the image on the 4K disc comes close to the 35mm scan.

I disagree, the print appears to be both darker and have far less green than the UHD (though the preceding bullet might be resultant of HDR tonemapping).

Post
#1373591
Topic
The Keep (1983) - 35mm Preservation Scan Opportunity (a WIP)
Time

timemeddler said:

just watched the grindhouse. It certainly works on large screen better than the so called hdtv broadcast. It’s definitely darker in some scenes, which isn’t necessarily a problem as it enhances the errieness of the movie in places, although some scenes are more awkward. I’ll probably play around with it in kdenlive for some adjustment.

Yeah apologies on the darker color grade. I kept the brightness a bit low to minimalize highlight clipping & compression and didn’t really boost the shadows since it didn’t really bring out any real detail given it’s a print.

Post
#1373244
Topic
The Keep (1983) - 35mm Preservation Scan Opportunity (a WIP)
Time

SpookyDollhouse said:

LucasGodzilla said:

I’d love to check this out! If you’re still taking donations for it or anything else please let me know.

I am currently taking donations for Big Trouble In Little China if you or anyone else is interested.

https://paypal.me/pools/c/8pg2184HIM

Do please tag your OT username as a note or so if you donate so it’ll be easier to keep track of who’s who.

Thank you all in advance!

Post
#1372294
Topic
Close Encounters of the Third Kind: Special Edition (Steven Spielberg, 1980) – 35mm Scan opportunity (WIP)
Time

I want to say right now straight off the bat, I am making this thread on behalf of an acquaintance of mine over on another private forum who’s, unfortunately, hasn’t seen any fresh funding for his project since it got started a few months back, which is a shame since I am sure there are quite a number of Spielberg fans out there who’d love to see this to the end.

We currently have in our possession a 1980 Special Edition print of Close Encounters of the Third Kind. It is in good condition, with minimal fading for a print this age: holding it up to the light you can still see some blues and greens.


To scan this print we would need to raise $675. (In case you are wondering where these numbers come from, Q-branch normally charges $20 per minute of film, but he gives us a 75% discount. $5 per minute x 135 minutes of film = $675)

Currently, the endeavor has only reached $110 out of the $675 needed for completion. If you want to donate, please reply down below and I will reach out via private conversation right away and see if we can get things squared away between you and the project maker!

Thank you all in advance!

Post
#1370788
Topic
Idea & Info: 'Sorcerer' - William Friedkin 1977 vs Wages of Fear - European theatrical release
Time

Out of curiosity, has anyone seen the 35mm trailer scan for the movie (I assume it’s from one of the Trailer Trauma blu-rays)?

https://youtu.be/7JSRqjCgL9Q

It seems to have mild Eastman fade that I suppose got corrected (though note the red-cast at times) but does seem to be a peek into how the movie may have looked on print. It also briefly showcases the bridge scene, which appears to be in a muddy brown color tone.

Post
#1368786
Topic
Big Trouble In Little China (John Carpenter, 1986) – 35mm Scan opportunity (a WIP)
Time

ccateni said:
What do you think the status is on the project with the amount you currently have?

Well unfortunately I only have roughly $220 out of the expected $320 which doesn’t even cover the rental fee sadly.

According to my checklist if correct, I am missing donations from 8 people at the moment, 2 of which are on this forum and were in the group private topic but didn’t respond.

I’ll be sending out another message to those who haven’t responded to see if I can hunt down the remaining $100.

If worst comes to worst, I’ll see if I can toss a fair bit of dough into the pot to see if I can reach that point.

Post
#1367952
Topic
Big Trouble In Little China (John Carpenter, 1986) – 35mm Scan opportunity (a WIP)
Time

So a bit of news, I have been talking with a few associates about their rates on scanning lately and an interesting development came out of it that’ll help this preservation for sure. We’ve managed to work out a bit of a compromise where the scanning fees and rate will go by a reel by reel basis. Meaning, with the current amount of funding pledged to the pot, we have enough to cover the rental fee of the print as well as the scanning of the first reel. Our hopes are that once that first reel gets scanned, it’ll entice more folks to help out and chip in to see the scan reach eventual completion.

So anyways, with that said, I am currently contacting those who’ve pledged to collect funds to send over to the scanner and whatnot.

Hopefully now we’ll be able to see some real progress with this. And on a further upside with this forum in particular, with the first reel scanned, hopefully it’d help anyone’s ventures into regrading one of the HD masters to the print colors.

Post
#1348143
Topic
Big Trouble In Little China (John Carpenter, 1986) – 35mm Scan opportunity (a WIP)
Time

With the successful financing of The Keep (which can be found being mentioned on a few forums, EG: https://forum.fanres.com/thread-3107.html ), I thought I’d go back to an old StrawPoll survey I conducted a bit back to see what was next on that list and start up another one and see what happens. If it doesn’t get funded, oh well. If it does, then cool, another preservation available on the list.

Anyways, although technically two HD masters exist of it already at the moment, Big Trouble In Little China is a movie that I believe deserves a print scan for a couple of reasons. Apart from the fact that it’s an enjoyable cult classic and it’d cool to see how it looks with the release print grain and whatnot, the biggest thing that should be addressed I believe are the colors.

On another forum called FanRes, this movie’s been discussed a number of times in the past about how the colors on both HD masters are wrong.

The Fox HD master is not only stone old, but it sucked out all of the Cundey blues and warmed the picture up far too much to create a rather neutral looking master. Although the newer Euro / Netflix master attempts to recreate the original grading, it too suffers a slew of problems, from the poor / murky black level and the fact that much of the movie ended up accidentally homogenizing into a teal and orange color scheme, sacrificing other colors as a result.

As reported by users who have witnessed 35mm and 70mm screenings of the movie.

Right when the truck enters the alley, it’s very blue. Then it’s mostly greenish. The lightning effects are cyan-blue. Overall, the movie is mostly greenish. The beginning credits are very blue, and the Budha statues area at Lo Pan’s place is quite blue, mostly because of the carpet.

The new colour timing is quite something isn’t it? I was lucky enough to catch a 70mm screening in April and sure enough it was dark, moody and blue blue blue. It looks like the Netflix was a genuine attempt to go back to the theatrical colours, although the Netflix timing has more consistent orangey skin tones whereas the 70mm tends to vary going from pinkish to orange to brown sometimes, but that’s photochemical colour timing for you. The ‘green flames’ on the 70mm were genuine vivid green whereas the Netflix has somewhat tealer greens. If anything the 70mm was bluer than the Netflix which surprised me.

I like to think my memory of the screening (70mm, not 35mm) is good but no-one’s memory is perfect, it was very blue in much the same way I describe T2 as blue, inasmuch as it’s very present throughout but not at the expense of other colours (ie not a blanket tint).

As such, I believe that it’d be a good idea to at least consider scanning the 35mm print in my trusted associate’s collector’s inventory in an attempt to preserve the original photochemical color grade, so that the movie can be enjoyed in its original form in 4K (or to be used to even regrade one of the HD masters). Especially since Shout! Factory ended up dropping the ball by recycling the aforementioned outdated Fox master from 2009 in their recent blu-ray release which is a damn shame.

Roughly estimating the costs: $250 renting the print, $100 for two-way shipping, $75 for FilmGuard treatment, $495 for the scanning itself, & $100 for a hard drive. The total would likely end up around $885

Like the previous project, I will just be holding pledges for now until the gap can be closed where I will then send out links to a private PayPal Pool.

Donated Total: $389.5 – 44%