strangelove

I took these shots in 2007 at the Oakland Aviation Museum:

http://www.oaklandaviationmuseum.org/Solent.html

http://i6.photobucket.com/albums/y220/HiLloyd/short_solent_100207_01.jpg
http://i6.photobucket.com/albums/y220/HiLloyd/short_solent_100207_02.jpg
http://i6.photobucket.com/albums/y220/HiLloyd/short_solent_100207_03.jpg
http://i6.photobucket.com/albums/y220/HiLloyd/short_solent_100207_04.jpg

The plane was also used for the interior scene featuring Harrison Ford. I don't have pictures but the museum has been known to keep a fedora and a copy of Life magazine handy for photo ops. Maybe on another visit...

Just discovered this thread. I know it's late in the game but would there be any interest in recent photos of the white seaplane used in the China Clipper boarding sequence?

There's been a recent flurry of activity over at Capedwonder.com.

Before people get too much more excited about the idea of disseminating the X0 capture, I think it would be worth considering just what an enormous amount of data we're talking about here. Even a dual-layer DVD wouldn't be capable of containing two hours of *uncompressed* video. You guys want to mail each other DV cassettes, fine, but expecting an online upload is pretty unrealistic.

Always in motion is the future.

I apologize for the derail. This thread/project is of course about restoring the film as it was, not how it could be. But if we're going to be picking and choosing individual shots that 'could look better', I feel that the Mos Eisley drive-by is a low priority.

Zion, thanks so much for the update (and the upload).

Minor sidetrack: In my opinion (previously stated long long ago, somewhere on this thread) the Mos Eisley shot has so much wrong with it I'm not sure what a restoration could accomplish, short of working from the camera original. It's not just color balance and grain-- the concept of the effect is flawed.

The filmmakers obviously weren't satisfied with the way the practical landspeeder photographed, and it appears that the orangey 'force-field' area is actually the vehicle's real shadow, painted out frame-by-frame. I get that they wanted to see some daylight beneath the supposedly hovering craft, but there are too many visual cues indicating its true position relative to the ground. The result is that the shadow appears cast towards us, consistent with a light source coming from the background, while every other shadow on location is cast away from us by sunlight from behind the camera. I mean sure, two suns, but still.

I'm gonna go out on a limb and say no, no there isn't. It's been an inspiring thread though.

Yes.

"FanEdit: You know what you saw. Summer 2010."

seventiesfilmnut said:

netgurucr: You DO realise we are talking about colour correcting an entire movie (a 24fps MOVING movie) not just static screen grabbed images right??!?

Shh-- You'll spoil the surprise.

netgurucr said:

Yes, you save each frame as a PNG or JPG, and then correct them.

Sure, if you want to do it the easy way...

In the old (Mac) days, you could just go into the System/Preferences folder and pull files out of the cache. I miss the old days, but for all I know there could be some hidden-folder trick that still works.

Snapz Pro should be able to handle it.

Ziz said:

I don't know enough about the differences in the various copies floating around that I could ID one section over another as coming from which copy.

Two pages back, post 214:

http://www.starwarsholidayspecial.com/versions.htm

Look for the station ID on your recording.
 Or are you saying your version may be a composite?

(edit) totally redundant post...