Some fans are already completing new 35mm print scans but they’re not done yet. Not sure what’s happening here!
I’m cackling
gweedo16 said:
some grain removalYou can’t be serious…
The scan is so noisy as shit
Yeah and it looks awesome. Just needs some color-correcting and it’s good to go. The movie was specifically shot to look grainy and that’s how it was in theaters because that’s how it was made. If ur degraining this one ur missing the point, son.
Ok so small update:
Because of something out of our control the BLT scans are no longer on Google Drive. We will find an alternative (possibly FTP or torrent) but for now, no downloads are available. I will keep everyone updated on when I can get them back up, but rest assured the files are safe on an LTO Tape and I have them backed up on my own hard drive so they will not be lost anytime soon.Are you doing everything to remove all of the dirt and film damage?
Not to be rude but you keep asking this, and there’s not really any reason to. They’re doing the best they can. Whatever largely visible damage is there will be dealt with. It’s in good hands.
I feel if this actually got off the ground he’d inevitably reconstruct his 4 hour cut as it was before Fox went in and did their own thing. Cuz as we know they pushed him around on set but he did what he could in the editing room before the top dogs went “nope.” I don’t think anything SFX would get changed really. Lynch isn’t super into that sort of thing to be honest.
Whilst I agree with your sentiments the fact of the matter is let’s take for instance I think it’s the 6th Draft after the Jamis fight. The Fremen with paul and Jessica set out from the rocks at dawn and go to “Sietch Tabar” chani points whilst they walk in the desert and says (sorry if there is spelling mistake) “Sietch Tabar” So this relies on having an image of this place which they may or may not have filmed. Although you could say ok don’t include the scene because we don’t have the fantastical location that does not exist. Of course it can be remedied by creating it. These sorts of films are like chicken and the egg. You can argue all day which one came first but the reality is that the egg needs the chicken just as much as the chicken needs the egg.
A Special effects film needs special effects constantly and consistantly especially one like Dune with blue eyes roto in on loads of shots but the actors and the performances are just as important. The World is important and that is something Dune did tremendously well with it’s production design.
I think the amount of work it probably would requite is daunting but at the same time it makes it much more plausible that people would want to have a go because it would be a challenge and that makes it more credible. A challenge is something that people can get behind.
It’s a beautiful film and exists how it is and doesn’t “need” anything visually redone to it. I stand by the notion that all Lynch would do is restore his initial cut and leave the rest be. He might request some minor seam corrections like what recently happened to Poltergeist but that’s all I’d realistically see. Everything else is do-it-cuz-we-can-current-year brand presentism tbh.
Seems rather unlikely, but wouldn’t it be great if Criterion would pick up this restoration for plans on an official Blu-ray release for the film’s (belated) 35th anniversary?
Wouldn’t happen that way, nah. They’d license from the current owner and use an existing IP, IN, or the negative if anyone knows where it is. They don’t just work with people doing under the table theatrical print scans.
I feel if this actually got off the ground he’d inevitably reconstruct his 4 hour cut as it was before Fox went in and did their own thing. Cuz as we know they pushed him around on set but he did what he could in the editing room before the top dogs went “nope.” I don’t think anything SFX would get changed really. Lynch isn’t super into that sort of thing to be honest.
Why not a 35mm scan of the Japanese audio release in 1080p or 4K? Maybe not.
Probably because one hasn’t surfaced yet? If it did we’d probly be way past it already online at this point. lol
It’s possible a print is hanging around in Japan somewhere. I think it’s an interesting title to at least get everyone aware of. The group Kineko Video has their eyes regularly on stuff in Japan, so if one shows up at all I put them on grabbing it first.
The Italian Dynit Blu looks the best (best encode) but doesn’t have English subtitles and only the remixed audio. I recommend grabbing that and remuxing with the 2.0 Laserdisc track which has been synced already. If you don’t want to bother with any of that grab the Bandai Visual Blu or import the Japanese equivalent, I’m fairly certain they’re the same exact discs. Still looks pretty great and has the 2.0 track (though it’s been neutered quite a bit).
The remastered Blu-ray suffers from bad SDR conversion with areas of near nuclear blue and teal. The UHD disc is a better point of reference and far more accurate. The DVD is probably wrong like many are.
So a Japanese DVD was finally obtained, and it was largely a disappointment.
It is really a weird thing. The intros are just like what we wanted. The shortened intros just like the laserdisc. But the animation is the same as the USA DVD! What the hell?
And not that it has much of an impact on us, but to boot the English track of the DVD doesn’t have any narration. This really seems like more of a bootleg than an official release (and it isn’t a bootleg).
So sadly this won’t help us for the main thing we wanted. To make the restored laserdisc edition even better.
But it helps us in another way. We want to do a 2000 US DVD release with the shortened Deems intro, uncensored Pastoral, and Fantasound. So the NTSC intros here will at least be useful for that.
Can you take a photo of the package and disc, please?
All of the film damage is going to be removed, right?
They’re going to do the best they can. There’s no need to fret over it or ask repeat questions.
There’s a copy of the LD for $64 on eBay right now which ain’t totally horrible. So that’s an option! We could pool the money together for it tbh.
This is deader than a doornail.
These two are more than fine for official releases. https://www.blu-ray.com/movies/Halloween-4K-Blu-ray/210868/ https://www.blu-ray.com/movies/Halloween-4K-Blu-ray/294501/
Would be nicer if someone made a custom BD50 with all the Criterion LD audio + bonus features, with one of the source videos from the 4K discs. The mono track from the Shout/Scream 4K is nice too.The Scream Factory 4k mono track is the same lossy garbage from their boxset disc that’s been filtered to hell and back. Not to mention the compression on it is garbage. Hopefully we’ll get a better presentation someday!
Still going to buy an official release anyway. Where do you think we are?
I don’t know, where are you?
The Danger Zone.
http://dvdcompare.net/comparisons/film.php?fid=48183#2 It’s lossless on the 4K+BD main discs, not lossy. Or do you not know the difference between audio formats on disc? Lossy = “Dobly” Digital, Lossless = DTS-HD Master Audio, and Uncompressed = PCM. Yay… Still going to buy the official Scream/Shout Factory 4K+BD release, which I doubt you even have.
Fan preservation as I typed with a BD50, mono from the Criterion LD, whatever. There’s your better presentation.
Oh my god I love you so much lmao
This is deader than a doornail.
These two are more than fine for official releases. https://www.blu-ray.com/movies/Halloween-4K-Blu-ray/210868/ https://www.blu-ray.com/movies/Halloween-4K-Blu-ray/294501/
Would be nicer if someone made a custom BD50 with all the Criterion LD audio + bonus features, with one of the source videos from the 4K discs. The mono track from the Shout/Scream 4K is nice too.The Scream Factory 4k mono track is the same lossy garbage from their boxset disc that’s been filtered to hell and back. Not to mention the compression on it is garbage. Hopefully we’ll get a better presentation someday!
Still going to buy an official release anyway. Where do you think we are?
I don’t know, where are you?
This is deader than a doornail.
These two are more than fine for official releasews. https://www.blu-ray.com/movies/Halloween-4K-Blu-ray/210868/ https://www.blu-ray.com/movies/Halloween-4K-Blu-ray/294501/
Would be nicer if someone made a custom BD50 with all the Criterion LD audio + bonus features, with one of the source videos from the 4K discs. The mono track from the Shout/Scream 4K is nice too.
The Scream Factory 4k mono track is the same lossy garbage from their boxset disc that’s been filtered to hell and back. Not to mention the compression on it is garbage. Hopefully we’ll get a better presentation someday!
I’d rather donate to a project regarding ALIENS.
There’s an already a scan for aliens
If this is true, I’d love to be pointed in the right direction.
According to Blu-ray.com, the new Criterion release will be in the 1.66 aspect ratio despite not being the negative or theatrical intended ratio.
Multiple Maniacs is also 1.66. It was shot full frame and cropped for theaters. 1.66 is an in-between point leaving more room without revealing the entire frame. It would have been exhibited in Europe that way as well. It’s not known if Pink Flamingos was shot “protected” or if any aspect ratio was in mind, but it’s clear it works 1.66 or 1.85.
The Blu-ray coming from criterion has a 4K scan. The Film they scanned was the EXACT same film that John waters (The director) used to splice and edit the film together. That exact print they scanned was in John Waters’ attic for decades. unless criterion cut scenes from that scanned print (Which I highly doubt they did)
seeing that criterion released “Salo: or the 120 days of sodom”, I think it’s safe to say that Pink Flamingos will be the uncut version. thankfully.
Hope this helps.
Can’t wait to see the new restoration from criterion because PF is one of my favourite films of all time.
I think you’re getting this one mixed-up with Multiple Maniacs. That’s the one John Waters had in his attic as he handled the entire production himself. Pink Flamingos was released by New Line, and its been under lock and key there (WB these days). The Laserdisc and subsequent DVD assumedly came from an I.P. which was in fact uncut. The extra running time on the Laserdisc came from combining it with the extras. There’s no reason the movie will be cut.
If the music is different at all it’s because of rights issues they couldn’t sort out, which was the case with Multiple Maniacs.
@RU.08 are you going to give both Jurassic park and Jurassic park 3 a hdr/Dolby vision grade so the awful uhd blu ray can be retired to the dust bin of garbage video transfers?
I don’t think there is any need for a Dolby Vision or HDR grade to create colour that closely matches the prints. There was no Dolby Vision or HDR in 2001 or a decade from then. While JP3 is colour timed photochemically, many films post 2001 were graded digitally and they looked fine. SDR colour with proper white balance is enough. 4K scan will ensure almost all details have been preserved. But removal of print damage is needed as the print has scratches at various sections. This will take time.
Not 2 start a quarrel but I don’t think you know how HDR works. Film (negatives and prints alike) has higher dynamic range than SDR. Higher color gamut alone would benefit it and HDR would be icing on the cake. It’s only revisionist if you make it so.
4k is only half the picture; detail. You present that in a plain SDR color space you defeat the point if your goal is to release in 4k.
There was no way to see anything close to theatrical quality in the home back when these films came out. Now we have a tool that brings us closer to that experience; to call that tool “revisionist” is, well, a misnomer.
Disregard, didn’t notice y’all got to explaining this stuff before I did. No need to repeat anything! lol
Maybe, but either way, the open matte print currently circulating has the CGI cropped to 16:9.
The CGI scenes were hard-matted at 1.85. 1.78 is close but not exact. So called “unmatted” CGI shots are not known to exist. If they do they’re not on the theatrical prints.
Highly recommend going with 2 encodes for this one: full frame and theatrical 1.85. It was animated to be seen in the latter ratio.
Highly disagree. I think they should go for a 1.66:1 ratio for this film, as it’s typically how Disney distributed films would be. 1.85:1 was a common matte in America but I feel it would cut out too much info in this particular case. 1.66:1 would be the best to keep a cinematic feel while also keeping in mind the intended matted ratio (which as far as I’m aware, isn’t known; just that it was matted to a widescreen format in film festivals).
Now now, don’t be so hasty there; I didn’t say I was opposed to 1.66. In fact I welcome that because it’s also a valid theatrical ratio. It’d undoubtedly work here. That said, 1.85 or 1.66 would technically be correct!
There has also been a 35mm scan floating around the usual places since last year. Looks good, and is fully intact. Tagged Grindhouse in the name, by someone that obviously doesn’t understand what Grindhoiuse actually is, so ignore that if you come across it.
Some slight adjustment and it is pretty perfect. Well, in comparison to the current awful home releases, anyway.
Could someone point me in the direction of this? In a PM if necessary
I second this!