I had heard of something like that. Would be way too scared to try it myself.
I think I might eventually get a Spin Clean machine. They're only about $70 and are pretty well regarded.
Finally found the 1st 90's sequel to the Harry Palmer series. It's a very crummy Canadian DVD of an even crummier movie which I now find was actually made for TV.
But it has Michael Caine in glasses! And nothing to do with The IPCRESS File! Why do I do these things to myself? I don't think I want to ever watch it.
Check out this thread. Things are making some more sense. It appears that the 97SE audio was sourced from the 4 track L,C,R,S master and not the 6 track master.
danny_boy said:
Star Wars Special Edition
In remastering the sound for the 20th-anniversary release, it was decided that the original four-track master, which had maintained its integrity over almost 20 years of storage, would serve as the backbone for the creation of a new 5.1-channel master. This master was the LCRS (Left-Center-Right-Surround) mix for Dolby Stereo, recorded on magnetic tape. In preparation for the new soundtrack, the first step was to duplicate this master, and then reduce inherent tape hiss by using the Cedar DH-1 noise-reduction system. Then, the four tracks were equalized using a GML Model 8200. Finally, an Aphex Dominator II limiter was employed to reduce harshness in the sound caused by sharp transients.
Because the surround channel in the original master was monaural, stereo surround was created by running the mono surround through a home theatre THX® processor, which splits the single channel into left and right, and then scrambles their relative phase. In some cases, stereo surround effects were added, to an extent similar to what is done with today's digital sound mixes (such as separate left and right effects to impart a feeling of spatial dimension in the theatre). For the LFE (Low Frequency Effects) channel, deep bass effects, such as for explosions, were added to give some visceral impact at key moments in the film.
New mixes were necessary for the added scenes, which were created in the 5.1-channel format. These mixes were meticulously blended into the four-track master, plus original dialog, music and effects elements to create a new 35mm Dolby SR (Spectral Recording) noise-reduction-encoded, six-channel master. Print masters were then created for the three digital sound formats (Dolby Digital, SDDS® and DTS®).
How did this new creative work sound? It was quite apparent upon listening to the first 10 minutes or so of the film that the sound engineers were trying to achieve a delicate balance of remaining faithful to the original mix and incorporating embellishments (mostly reflecting creative ideas originally envisioned but not carried out for various reasons). The music recording sounded remarkably clean, mostly devoid of excessive brightness, and with good fidelity.
The precise panning of sounds (and occasionally dialogue) along the screen from the separate front channels actually was very convincing, and was a testament to the remarkable work of the sound crew in the early days of Dolby Stereo. Of course, being able to hear the accurate placement of sounds on-screen is commonplace with today's digital sound, but experiencing this from a 20-year-old master is breathtaking.
In many scenes, "opening up" the ambient soundfield through stereo surrounds was apparent. One is the desert landscape on Tatooine, where the sound of the wind sweeps between the front and back. The opening scenes aboard the rebel ship and the final attack sequences on the surface of the Death Star exhibited similar enhanced depth in the surround field. And, some left-right rear effects were noticed, as in Tie Fighter scenes, though they seemed to be more subtle compared to current digital soundtracks. The LFE was present in the explosions of Alderan and the Death Star, and from the Millennium Falcon, though again the intensity of the effects was less pronounced than what would be encountered in a contemporary movie. These apparent subtleties could have been deliberate, in deference to the "delicate balance" mentioned earlier.
The one aspect of this new edition that was controversial was the dialogue. While there were no problems with intelligibility, it was almost impossible to overlook the dialogue's bright and strident characteristics. Such imperfections are to be expected due to the dated fidelity and recording technology. Nonetheless, the dramatic improvements to the sonics for this seminal film have prompted many film sound experts and enthusiasts to offer high praise for the achievements at Lucasfilm.http://www.filmjournal.com/filmjournal/esearch/article_display.jsp?vnu_content_id=1000692295
This would completely explain why the 97SE 5.1 has a more tinny and airy quality when compared to the 93 and 70mm audio. The masters used are actually different mixes.
You can see if a simple cleaning with water or rubbing alcohol will work with vinyl surface noise. As far as scratches it depends on how deep the scratch and how well your cartridge can track the record. If very deep there's not much you can really do. I've never dragged a needle across a record except on really cheap plastic tables. Most tables now at least have a cueing lever.
The explanation I always heard was that Palpatine didn't want his pilots having hyperdrives, life support or shields because that would allow them to desert. Plus, the lack of shields would make men fight harder so that they wouldn't be killed.
Edited list:
Michael Stipe is probably my favorite, but Roger Daltrey is the most powerful.
Jim Morrison, David Bowie, Dave Gahan
Bono-just listen to The Unforgettable Fire especially "Bad".
Kurt Cobain-just for the way he could howl his vocal chords out.
Pete Townshend, Ian Curtis, Robert Palmer, Eric Burdon, Billie Holliday, Bobby Darin, Joe Strummer, Johnny Rotten for his vocal sneering, and of course Lennon, McCartney, Harrison and even Ringo.
You would have the enormous Station to Station set. ;)
Ziggy Stardust said:
LOL at "2063".
Fixed. Thank goodness there was never a movie.
That single scene can tell anyone just what is wrong with the Prequels. Old lore, longing for times long gone, deep pain of events from the past, gently nudging a youth towards a more righteous life, hearing a desperate plea, a connection to a lost father, a youth yearning for something more in his life, introduction of the Force, thoughtful stroking of the beard. I think that's more plot and emotive elements than I-III combined.
Lucas must make everything explicitly clear for anyone new to the films. This is something your arguments have made clearer to me. Beginning with ESB the whole universe of the story began to constrict on itself. There were less places to go and less things to do in order to escape the possibility of being repetitive. While ESB still turned out extremely well, by the time of ROTJ it seemed like even George couldn't think of what else to do. The length of the Jabba's Palace sequence could almost be construed as an attempt to take up screentime.
The 97 LDs indeed do not have the motion smearing. However, on ANH the Mos Eisley section went pink in the transfer. Otherwise they're probably one of the best looking LDs I own.
I miss wondering what the Clone Wars could have been like. The line of dialogue in Ben's hut was more impacting to the imagination than anything else.
Low point etc. Everyone's is different. I adore the whole original series, but especially as a film geek I know some have some major issues. (Octopussy, AVTAK, Licence To Kill, Tomorrow Never Dies, Die Another Day).Some argue the worst is Golden Gun, some say Moonraker, virtually every opinion will be a different film.
And I think I must be going mad because I now find strengths in the '67 version of Casino Royale.
Figured I dredge up this old thread after some really great recent finds.
David Bowie-Pinups original pressing on good old floppier than a floppy disk dynaflex vinyl.
Sealed copies of R.E.M.'s Out of Time, Monster, and New Adventures In Hi-Fi.
A super rare mono copy of The Third Man score from the early 50's.
The Robert Ludwig mastering of Houses of the Holy. One word: DYNAMIC!
And finally...my own personal holy grail of records:
The Decca label 1st pressing of Who's Next with the original West Coast mastering identified by W-1 in both sides of the deadwax. This is said to be the definitive pressing of the album by audiophiles, as the original master tapes were flown to California directly for the cutting of this specific first edition back in 1971.
All I can say is oh my dear god. The best $10 I've ever spent in my life. I've owned about 20 different copies of this album throughout my life and nothing comes close to the natural detail of this. Just unbelievable quality and dynamic range. You can clearly hear things like never before-Keith Moon's foot on the kick pedal before he comes in on "The Song Is Over", slight breathing on the vocals, extra bits of guitar and piano, and notably much more of The Ox's basslines. Everything has a presence that it never had before. Even in only very good condition it's the best sounding slab of vinyl I own.
RedFive said:
THIS!!!
I thought it was okay. Took me more concentration to get through it than 2001. It's really 2061 and 3001 that get into the "what the hell did I just read" category.
Ziggy Stardust said:
Dr. No. I am beginning my annual OO7 marathon.
It's a great feeling. Just think: 19 more to go! 22 if you count Casino Royale, Casino Royale and Never Say Never Again! ;)
I have to do my marathon about every two months. It's an obsession really.
Out of curiosity, where does it start to bog down for you?
Also a word of advice. Don't try it consecutively. It's painful.
I just reread the Bourne trilogy for the first time in years.
The Bourne Identity-Robert Ludlum
Truly one of the great spy novels, this work is a genius premise that is followed by 600+ pages of extreme labyrinth.
The Bourne Supremacy-
A worthy companion to the first book that takes a bit longer to get because of its less immediate plot nature, this book deals more with the psychological stress of being Jason Bourne.
The Bourne Ultimatum-
The writing takes a bit of a nosedive, as the plot becomes very tedious at times, but all in all there's just this constant feeling of: "It's finally going to end after over 1500 pages of mind numbingly complicated plot twists so I must finish!!!"
also The Bourne Legacy-Eric Van Lustbader
Continuation novel that aside from a few mistakes, incredibly wrong plot elements, mistakes that Jason Bourne would never make, character age impossibility, and a few implausible elements came up as a pretty enjoyable read.
BTW the Bourne books have NOTHING WHATSOEVER TO DO WITH THE MOVIES. Aside from a guy named Jason Bourne who had amnesia and used to have something to do with the CIA. (The actual backstory goes all the way back to Vietnam and the plot deals with international terrorism, CIA black ops in the Cold War, secret Vietnam directives, and Carlos the Jackal.) The books are incredibly human and realistic. Even for a spy novel enthusiast, the first two have to rank amongst the best of the genre, and I'd even put Identity amongst the great literature.
Tagline: "If you want to make your head hurt from plot twists read the Bourne trilogy."
Mental note: "I will not reread the 2001 sequels. I will not reread the 2001 sequels."
I went into the 70mm mix expecting that to a degree, but there really wasn't a loudness factor that I noticed. At least nothing like a modern mix that will be whisper quiet in dialogue scenes and then explode into action requiring massive constant volume adjustment. Though on second thought, maybe it was because I had cranked it up quite high. ;)
I'm glad I never read these.
See what others can assist with, but aside from doing some work here and there I wouldn't go too heavily into color correction.
I looked at your Criterion Goldfinger again and compared it to the Connery Collection. I agree that the Criterion looks like a loan out print. The different color probably comes from different print materials and overall wear.
Especially when you compare them to the old VHS covers. I miss all of the great VHS art.
The easiest way to view the original unaltered trilogy is indeed through the Bonus discs of the Limited edition 2006 releases. However, these are simply transfers from the master for the 1993 Definitive Collection Laserdisc. The 1993 edition did have a few elements changed, so it isn't truly the "original theatrical edition". For that the easiest edition to get would be that 1992 VHS set mentioned above if you are without a Laserdisc player. Plus it's available in 4:3 widescreen.
What Lucas has wanted is essentially a Bond-like franchise where there can be infinite adventures all under one brand name. Then all of the fans will simply go and see the new adventure simply because it has the logo.
What he doesn't realize is that while the original Bond films didn't go in the order of the books, they all (save You Only Live Twice) had strong connections to their source material. And in the continuing films, there was a loose continuity with what had gone on before.
Beginning with ROTJ and even ESB to an extent everything became interwoven in order to form the idea of what is now called "the saga". And no, by the time of ROTJ's pre-production I don't think the principals involved really "wanted" to be there, but were there out of obligation to the story and to the fact that the revenues would be unbelievable. Thus everything that you think would happen or could conceive of does not occur and we are left with a definite feeling of lacking in the conclusion. Case in point: Harrison Ford pretty much begs to get his character killed off. If that doesn't show you that you have problems with your story then I don't know what does.
I still haven't made up my mind how I would introduce someone to Star Wars. It certainly wouldn't have anything to do with the prequels. Overall, it would be best to view the OOT and then the 97s if people wanted to see some changes that were made.
SW V3 with surround engaged for 70mm mix.
Awesome. 70mm balls.