Damn, did the opportunity get away because we didn't have enough donations and waited too long, or what?
If I had known we were on a ticking clock, I may have just bitten the bullet and donated the full amount. :(
This is why we need more people willing to donate.
I wonder if any CDS prints of T2 still exist out there. And if there are any CDS decoders out there either. (Since CDS used the soundtrack area, there were CDS prints and Dolby Stereo prints. I'd imagine most prints out there aren't CDS...)
Yeah, anyone wanna bet it's just the same master again?
I think people should donate even though it's the theatrical cut. I've never even seen this movie, and I'll donate anyway.
Holy crap! This would be great, I know there is still no true HD transfer of it.
Yes, but the people at AMPS are mostly the same people here.
There has to be a way to seek more help without calling attention to the wrong people.
badgerstuta, any way you can get the word out to other BTTF fans you know of?
There are a couple Universal Studios Japan camcordings, they look more blue. The Hollywood ones, I can't tell. It may be that the film was retimed and reprinted for Florida only, but that the old prints as projected showed both blue and teal? I dunno. I know it's not DCP because people on theme park boards are saying it's not digital yet (but that they got a new print at some point?)
Based on the existing evidence, I am of the opinion that when Cameron's stuff was originally timed for theatrical projection, it had more teal than we like to assume, but that the trademark blues were still there. It could be that due to limited color space, camcordings of any kind will pull out either the blues or the teals more than the other? I remember the film having that light-blue/teal look, but I'm going off memories from 1997. I can't truly remember the colors.
I'll have to put in links to the other camcordings.
Here's a camcording from 2000: https://www.youtube.com/watch?v=posgKaC227Y
When they put them on 4K home media, won't they be forced to remaster? Surely they wouldn't just upconvert old masters to 4K.
At least as long as these crappy masters are the only ones, repertory screenings will remain in 35mm. I believe MGM has prints of all the movies, a couple Bonds showed up at the Castro here in SF earlier this year. (captainsolo, have you seen any of the Bonds in 35mm?)
It was done on film at 24fps, but I'm still pretty sure it only appeared on video/TV.
That Blood Circus print has been on eBay a couple times over the years, it has never sold. The original auction in 2011 had a starting price of $21 million, and a Buy It Now price of $750 million. No, really, I'm serious.
That makes $3500 look like an absolute steal, for supposedly the only existing print of this film in the world. Someday, someone has to buy that damn print.
AntcuFaalb said:
TServo2049 said:
What would make you think that? I'd have assumed it went through IP->IN->print?
That's the usual chain, sure, but poita mentioned to me a few months back that he thinks it's a positive->positive dupe print produced independent of LFL for one of the Spanish-speaking markets.
Interesting theory - would still be Fox though, right?
Almost as interesting to ponder as where the anamorphic 16mm prints came from. (Possibly intended for military bases?)
What I meant was the pinkish tinge to the whole scene. It does almost look like minor, early red fade. But the clips from reels 5-6 don't look that way.
What would make you think that? I'd have assumed it went through IP->IN->print?
The color looks great - reels 5 and 6 look quite close to the IB clips I've seen.
That reel 4 clip almost looks like the interpositive was starting to fade when this print was made...interesting.
Are these status updates for the Fuji print? Or is that not coming out until after Star Wars, and this is just going to be a cleanup of the Eastman print?
kaosjm said:
TServo2049 said:
Drafthouse is renovating the New Mission theater in San Francisco, I'm hoping we get more filmy goodness to go along with the Castro Theatre!
Oh I'm sure you will. Just keep an eye on the Drafthouse website for your area so you don't miss any good opportunities! Tickets usually sell out immediately online for special showings.
I have no idea when they're actually opening, but yes, I will keep watching the site like a hawk.
Drafthouse is renovating the New Mission theater in San Francisco, I'm hoping we get more filmy goodness to go along with the Castro Theatre!
As poita has said, camera shots off a film print can be inaccurate (see: the over saturated Jurassic Park images from the 35mm eBay auction a couple years back), but this would still be cool. I saw The Phantom in theaters, it gets a bad rap these days but I had fun. And from the screenshots, it looks like they were trying to light, shoot and time this movie like the Indiana Jones movies. It reminds me of the few 35mm images I've seen of the original Indy trilogy. (Look at screenshot #4...)
Please get well soon, again! We're all still rooting for you! Waiting for you to blow this thing and go home (in good health)!
A twist: BTTF II had to have been at least partially retransferred for BD, because the end teaser for BTTF III says "COMING SUMMER 1990". Unlike the ending of BTTF I, the 2002 DVD transfer of II used the home video ending, where there wasn't a date under the BTTF III title. (Anybody have even a down convert of one of the HDTV versions, and can check if "Summer 1990" is on there?)
Also, if the first wasn't retransferred, how were the wheels/etc. correctly yellow? Or would the color correction gaffe not have been on the 2K source? In the same shot, the road stripes in the distance were also "pinked", and they're correctly yellow in the BD.
Just food for thought...
So this means that even DCP presentations of the Blu transfer (like the ones I saw) are not 4K, right?
The coming UHD/4K home format will undoubtedly force many existing transfers to be retired; we'll see what happens then.
I was thinking that too, even 0-255 crushes out additional detail from the print due to the narrower color space, correct?
So I assume it will be possible to derive a wider-colorspace image from the raw scan in the future? (poita seems to be fully aware of the need to future-proof, I'd assume there is a larger color gamut in the raw?)
All three films are open-matte, only the effects shots were letterboxed. The FX were shot in VistaVision, at a wider AR - some of the live plates for FX shots were also shot Vista to reduce grain buildup on composite. So for example, if you look at a print of BTTF II, the full frame will go from open-matte to letterbox every time the same actor appears in a shot twice.
The DVD framing issues were utterly baffling; wouldn't locking the transfer at frame center to match up with the letterboxed FX shots have provided the correct framing? Was there wiggle room in the FX hard-matte shots? Are they not actually centered on the frame on the film sources they used? Still a mystery 13 years later...
And is the "DCP" version truly the raw 2002 transfer? Did the original DVD also have the digital cleanup gaffe that turned Marty's skateboard wheels from yellow to pink?
Are any of the previews from the Fuji print? I would be interested in a preview from the Fuji; correct me if I'm wrong, but I don't think you've even shown us any stills from the Fuji yet?