Juicy Pep said:
Thereās two school of thoughts here.
- Scans should be public and be shared with the whole world
- Scans should be private and should be shared with only a small group of donors
Not everyone on this website is in group 2, a lot of people on this website are actually in group 1. So itās very hard to keep a project funded here private.
The good news is that, NC-17 will give us Toy Story 35mm scan for free š
Hey man,
Iām actively hunting it down. Part 2 seems to be a lot more common, but if youāre patient, Iām confident I can track down Part 1. Iām about 90% sure I have a partial print in Russian and another in Italian. One way or another, Iāll make it happen.
That said, I need to be honest about something. I think a big issue surrounding this scan is how Tristan has been treating the people who supported itāespecially the Patrons who helped fund it. Itās pretty disheartening to see people being told some supporters are getting copies while others are getting refunds. Then thereās the excuse about being āworried it might leakā and somehow getting hit with copyright claims⦠I mean, come onāthis site made its name off Star Wars scans. It doesnāt get more high-risk than that.
Look, I understand that scanning is expensive and time-consuming. But letās be real: you didnāt make the film. You didnāt animate it. Your name isnāt creatively tied to Pixar. Having a limited exclusive window for funders? Totally fair. But acting like a scan gives you permanent ownership over a cultural artifact just because you bought the print and paid for a scanāthatās not preservation, thatās gatekeeping.
The more attention film print scans get, the better. Labels are obsessed with negatives. Studios donāt give a damn about film print scans right now. Ironically, what weāre doing might be giving them the best preservation copy theyāll ever see. And youād be surprised how many filmmakers, producers, and even studios quietly acknowledge that.
To a lot of people, getting a 35mm scan of a beloved film is a huge deal. They wait patientlyāsometimes for yearsāfor a chance to see it. So when you tell them that only a select few get access while everyone else gets a refund or silence, it leaves a bad taste. Especially when the people being denied were the same ones defending you when delays piled up.
And about the leaksāyou keep pointing fingers, but letās be honest: the only leaks in the last year have been from my scans. And Iām fine with that. After a 3-month exclusivity period, I open it up for everyone. Thatās how I operate. Ironically, Iām often accused of leaking things, but the truth is, itās usually someone else acting in bad faith. Meanwhile, I keep scanning and pushing forward.
Some people in this community think Iāve ruined it. Maybe thatās what the loudest voices say. But Iāve tried to be transparent every step of the way. I didnāt just buy a basic Cintel or KinettaāI built my own scanner, from the ground up. It works completely differently from anything out there. And I did that for one reason: to preserve film.
Honestly, it feels like we need a full reset in this scene. If youāre into film preservation just so you can hoard art that isnāt yours, whatās the point? If youāre passionate about cinema, then that passion should be contagiousānot buried under layers of secrecy and power trips.
You might not like me. Thatās fine. But I hope you respect the work ethic and what Iām trying to do. We donāt have to be best friendsābut we should be working together. Because at the end of the day, this is about one thing: the love of cinema. And if we lose sight of that, what are we even doing?