- Post
- #1577627
- Topic
- First new, verified change between AOTC 35mm theatrical and AOTC home versions!
- Link
- https://originaltrilogy.com/post/id/1577627/action/topic#1577627
- Time
As someone else pointed out elsewhere, of course this sort of thing is common enough with normal productions. There are often more than one IN and IP and thus different chain paths can make different prints have different mistakes/defects/etc.
But here we had an initial digital master and we have a “clean” 35mm and a “dirty” digital set of releases.
Anyway, it seems that for AOTC they digitally printed out an original negative (ON) straight from a digital master (I guess pre-color timed to how it and the print stock would react?) and then struck the release prints from that. So release prints for AOTC went through less stages than normal no OCN->IP->IN->RP. Just digital master->ON->RP. Maybe they made more than one of these direct 1st gen digitally printed ON to produce release prints from. Whatever, that doesn’t matter since the print in question doesn’t have the weird thing.
But what did they produce the DVD/HDTV/blu-ray/UHD from? If they just directly used the initial digital master and that had no blue blob then how the heck did it get into the chain? But maybe they did not do that? Did they really go and print out a new ON and then scan it back in and then use that scan as the final true digital master? If so, I guess a blue thingy could’ve fallen in the way for a few frames when they printed out the ON for the digital theatrical release (which would’ve been produced almost two weeks later than the one(s) for the 35mm prints). And maybe the way it was printed made the ONs have virtually no grain so it wouldn’t show up much at all in the digital releases after it had been scanned back in? But do you really think they would have bothered to go digital master->directly digitally printed ON->final digital master produced from scanning back in the ON rather than just go digital master directly? If they wanted it a touch more filmic why then DNR all the home releases up? Why have the grain basically not noticeable I think even in the digital theatrical version? So what would have been the point of going DM->ON->TDM? Maybe to give the digital theatrical a more print film set of colors and contrast? Then why seem to go to a more digital set of colors and contrast for the digital home releases?
One thought is that they maybe wanted to give the digital theatrical a slight filmic touch and digitally printed out an ON for the digital version and then some blue thingy fell into the scanner for a few frames and then they scanned this ON back in to make the new final digital master and that is what the digital theatrical and all home versions are based on. The digital release of AOTC theatrically was cut so short they had like zero time to redo anything so even if they did see a blue thing fall onto a few frames they would have had no time to reprint and scan a new ON.
But since the home ones at least don’t seem to have filmic contrast or colors and they did some DNR why would they have bothered doing the above instead of straight. Also, since the digital theatrical was such a close call for timing would they have even had any time to slowly print out a digital negative and then scan it back in?? Wouldn’t they just go straight from digital master? In which case we are back to no explanation again.