The Last Unicorn (1982)
Wonderful fantasy. I didn’t care for most of the songs - they didn’t fit the tone of the movie very well - but the dialogue is exceptionally well written and the visuals are often beautiful.
One out of one unicorn.
I never knew that.
(searches internet)
Fascinating.
Looks very promising. The Death Star walls still vary in color, but that is expected since my regrade didn’t go for strict adherence to a standard color, opting for a location-by-location color shift instead. The only other significant change I see is that the bot has less saturated skin tones, which makes sense since the bot probably doesn’t prioritize skin tones.
I should note that 5 or 6 of the test frames are from shots that I altered with color from another source, so the bot probably wouldn’t have been able to replicate that look anyway (see the R2 and 3PO shot and the trash compactor shot).
From here
This got worse the longer I looked at it.
“R2, stay and watch over the camp.”
(nervous beep)
Astonishing difference.
Glad to hear it! I enjoy reading your Star Wars scripts but original concepts are a more exciting proposition.
Could anyone post some of these frames from the Amazon version?
One does not simply re-post the top rated comment of the BirthMoviesDeath article reporting this news.
I really like the filmic contrast, and most of the shots look wonderful in terms of color. There’s only one real issue for me, and that is in the blues. The holograms and Obi-wan’s saber have too little luminosity, leading to strange gradients with the surrounding colors. The Federation ship interior also takes on a strange blueish green tint. Here’s an example of a shot that doesn’t benefit from this grading in my opinion:
It also seems like the reds are unnaturally dark.
Some shots look phenomenal though, such as this one:
The soft pinkish gray walls with blue panels really works.
Here’s a comparison shot, to hold over until this video preview finishes rendering.
http://screenshotcomparison.com/comparison/213242
Tangential, but it’s amazing how much detail went into a set that was only seen in a few shots.
Guys, we have a new winner for The Sword in the Stone!
The Amazon WEB-DL is 1080p, has no logo, and fewer artifacts than the best HDTVrips around; better bitrate too.
And, of course… no terrible DNR like the BD.
WEB-DL: https://i.imgbox.com/98T7RJPa.png
HDTV: https://i.imgbox.com/VtAhDHRS.pngWEB-DL: https://i.imgbox.com/dCUK2Hza.png
HDTV: https://i.imgbox.com/1MDlTE0O.png
Excellent!
I don’t know how the color looks on 35mm, but I have my suspicions about both of these transfers. To my eyes there is a lot of hue shifting, resulting in unnatural colors. I looked at some lobby cards to get an idea of what this could have looked like, and came up with a single correction for both images:
http://screenshotcomparison.com/comparison/213210/picture:0
This one is rather red, but at least the chair and the bone aren’t green.
I like the sky blue and olive green look of the lightsabers. The warmer tones truly sell it.
I bet that the 3rd reference (Death Star Hallway) is working at cross purposes to the other Verta frames, due to the amount of blue in the frame. I wonder, what would happen if that was removed from the algorithm?
^Tisk tisk, Neverarbot. You clearly don’t know me as well as you think you do. Those examples are much too blue.
😉
Here’s the final color with contrast altered to match the bot:
http://screenshotcomparison.com/comparison/213084
The colors are very similar to your TechBot in most respects.
This is also one of the shots that has blown out highlights on the Blu-ray, which I have fixed for this project.
Abrams tends toward a more saturated look, and your approach is subtle but effective. I think you could go further in reducing the pink skin tones though. That’s one of the big issues that reminds me this is a recent film.
The first Jurassic Park movie since 2001 was always going to put a lot of butts in seats. If it was bad, people would have seen it out of morbid curiosity. If it was middling, they would have seen it because [insert any reason people see nostalgic sequels]. And of course if it was great, people would have seen it because obviously.
It’s almost like a certain Star Wars movie that came out in the last few years.
The reasoning behind Abrams for TFA is clear. He directed one of the best Mission: Impossible movies and successfully re-booted the Star Trek films for a general audience. I believe his deficiencies as a writer lead him to botch the endings of his shows and movies, but when he’s not writing, his movies are quite good. Super8 is a lovely film up until the end.
Rian Johnson is a great choice of course. Brick is wonderful, Looper is clever and interesting. Enough said.
Trevorrow is much less reliable in this regard, since although his films have been decent in terms of broad audience appeal, he seems incapable of writing certain types of characters. Romance in both of his previous feature films has been an issue for me, and if the reviews for his latest are any indication, he hasn’t improved in the portrayal of female characters in general. If TFA taught us anything about the director’s tendencies, it is that the movie is very much a mirror of the instincts of the director for good or bad. I have no faith in Trevorrow to create a worthy third installment of this trilogy.
As a coda to this Book of Henry thing, here’s an excerpt from an interview he gave about the film:
I think what this movie is, it’s the movies I would be making if no one had asked me to go and do these giant versions of things that we loved growing up. Which I also love doing. But it was important to me to make something that at least shares with people my identity as a filmmaker, what I believe in and where I stand. And the kind of movies that I would continue to make if they were to fire me tomorrow and say I can never do a big budget movie again. I would make movies like this.
It sounds like you would be happy doing that, too.
Absolutely. I’m not suggesting they fire me. In case they’re listening.
I hope they’re listening.
Hayden is definitely the most noticeable change in the long term (so far!) since all it takes to recognize the incongruity is the fact that the Original films are much older than the Prequels. Perhaps going forward with petitions and awareness-raising messages, it would be good to highlight this change above others as an example of pointless revisionism.
The DVD’s were released in 2004, two years after AOTC and a year before ROTS. So perhaps a new release will happen between Episodes 8 and 9, and this also almost fulfills the 7 year pattern.
Or something.
The recent pattern has already been somewhat broken by the 2015 digital release, so this means that the OOT will absolutely arrive in 4K in 2022. Yay!
I think it has more to do with generational differences than anything else. Since the last VHS release of the OT films was in 1995, many people born after 1990 probably haven’t grown up watching the originals. So the vast majority of people 17 years old or younger have no nostalgic connection with these films, and even most people under 30 have had their memory ‘replaced’ with memories of the Special Editions (I was one of these people for a time).
They haven’t been implemented (yet?).
Part of why I tried to extend the Starkiller firing to fit the full cue was in an attempt to make room for a government transmission offering belated assistance. Of course that idea would use some different shots, but in either case the Resistance scene would need to be manufactured. After doing the basic montage, people seemed to like that on its own so I didn’t go further in the idea of the transmission.
Perhaps the transmission could be added by removing the pilot reactions and instead inserting the ‘are you seeing this’ line. I just really like the wordless nature of the montage as it is, and the transmission would have to be quite good to be worth it.
But don’t let that stop anyone from trying this out - the attitude of the Republic is still the most problematic aspect of this edit in my mind, and something should be done to make it more helpful to the Resistance.
