The Abyss 4K UHD (1989)

[By_His_Strypes]

I also just recalled that in Farscape the character of Zhaan was often referred to as The Blue *****. So, don't watch Farscape if The Abyss dialogue is deemed offensive to you.

[KMFDMvsEnya]

Originally Posted by By_His_Strypes

Is this in regards to Mary Elizabeth Mastrantonio's character of Lindsey being called the B word at times? if so, it's just another example in a long line of people being upset over the strangest things and they usually don't have a good reason to explain why that is exactly.

Originally Posted by By_His_Strypes

I also just recalled that in Farscape the character of Zhaan was often referred to as The Blue *****. So, don't watch Farscape if The Abyss dialogue is deemed offensive to you.

That is a mischaracterization of the tone of those that have expressed a dislike for the usage. Simply that they felt it was perhaps excessive.

The only ones who seem to be 'upset' are those taking umbrage that one or two simply stated that they did not care for certain insults.

No one has advocated for removing those lines or anything unto.

[By_His_Strypes]

Originally Posted by KMFDMvsEnya

That is a mischaracterization of the tone of those that have expressed a dislike for the usage. Simply that they felt it was perhaps excessive.

The only ones who seem to be 'upset' are those taking umbrage that one or two simply stated that they did not care for certain insults.

No one has advocated for removing those lines or anything unto.

Well, that's good to know. I guess mischaracterization is running rampant.

[rubystone356]

Originally Posted by KMFDMvsEnya

That is a mischaracterization of the tone of those that have expressed a dislike for the usage. Simply that they felt it was perhaps excessive.

The only ones who seem to be 'upset' are those taking umbrage that one or two simply stated that they did not care for certain insults.

No one has advocated for removing those lines or anything unto.

https://www.ebay.com/itm/20444032002...RoCC4IQAvD_BwE

the book explains the language.

Jacob

[KMFDMvsEnya]

Originally Posted by rubystone356

https://www.ebay.com/itm/20444032002...RoCC4IQAvD_BwE

the book explains the language.

Jacob

I haven't read that book in... counts... well shoot thirty years.

[Christian Muth]

Originally Posted by Ben_C

The Abyss thread roundup for today - technical info about Kodak film stocks and phrases that feature the words pantyhose and knickers.

But unfortunately, no pantyhose or knickers discussion in the Kodak link I posted 😭

Chris

[Christian Muth]

Originally Posted by Ernest Rister

Geoff, do you remember the liner notes in The Abyss: SE Laserdisc box set? Where Cameron addressed an issue with frame jumps? The negative was cut to conform to the theatrical version, and so when re-inserting the deleted scenes, there'd be a tiny pop due to a missing frame. I really only ever noticed one of these, at the end of the film with footage re-inserted in a take of the crew. It was a tiny thing, but noticeable. I figure with today's tools they can fix these, just don't know if Cameron and company have taken the time and expense to do so.

The missing frames could always be "fixed"- i.e., new in-between frames digitally created- but the question is, did they/do they want to do this? As I recall, this even came up way back in 2012 re: LAWRENCE OF ARABIA on Blu-ray. It was possible even back then to do it, but they opted not to since David Lean wad no longer around to approve such shenanigans.

Now, obviously we're in a different situation with Mr. Cameron, though...

Chris

[Dr. T]

Originally Posted by Christian Muth

The missing frames could always be "fixed"- i.e., new in-between frames digitally created- but the question is, did they/do they want to do this?

Yes, they did.

[Geoff D]

Originally Posted by Ernest Rister

Geoff, do you remember the liner notes in The Abyss: SE Laserdisc box set? Where Cameron addressed an issue with frame jumps? The negative was cut to conform to the theatrical version, and so when re-inserting the deleted scenes, there'd be a tiny pop due to a missing frame. I really only ever noticed one of these, at the end of the film with footage re-inserted in a take of the crew. It was a tiny thing, but noticeable. I figure with today's tools they can fix these, just don't know if Cameron and company have taken the time and expense to do so.

Originally Posted by Christian Muth

The missing frames could always be "fixed"- i.e., new in-between frames digitally created- but the question is, did they/do they want to do this? As I recall, this even came up way back in 2012 re: LAWRENCE OF ARABIA on Blu-ray. It was possible even back then to do it, but they opted not to since David Lean wad no longer around to approve such shenanigans.

Now, obviously we're in a different situation with Mr. Cameron, though...

Chris

Seeing as Cameron had the frame bumps digitally smoothed over for T2's extended cut going as far back as the 2003 Extreme Edition master, and Aliens SE also had the frame bumps fixed on the 2010 Blu-ray, I'd say it's odds-on that the new transfer of The Abuse will have the frames restored (and indeed does, according to those who've seen it).

[Geoff D]

Originally Posted by Christian Muth

Interview with THE ABYSS cinemetographer Mikael Soloman. Interestingly, he points out the he shot it entirely with ASA 100 Kodak filmstock (I assume 5247, a very "beloved" Kodak filmstock among cinematographers from that era), which was very fine grained: https://www.syfy.com/syfy-wire/the-a...BX5BH1WtBZwJBg

Chris

They definitely used 5247 on what few daylight exteriors there were, there's a photo of Cameron operating a camera with the info written on the mag, but I'd be verr surprise if they used 5247 on the gloomy interiors as well. As for the mention of being the ones who introduced S35 to America, Tony Scott and Michael Mann and John Alcott would have had something to say about that, the latter having essentially invented Super 35 (then called Super Techniscope) when he made Greystoke in 1984. Hmmm.

[frogmort]

Originally Posted by By_His_Strypes

Technical Jibber-Jabber

I think I'm going to use this for my new band name. Thank you!

[Christian Muth]

Originally Posted by Ernest Rister

Geoff, do you remember the liner notes in The Abyss: SE Laserdisc box set? Where Cameron addressed an issue with frame jumps? The negative was cut to conform to the theatrical version, and so when re-inserting the deleted scenes, there'd be a tiny pop due to a missing frame. I really only ever noticed one of these, at the end of the film with footage re-inserted in a take of the crew. It was a tiny thing, but noticeable. I figure with today's tools they can fix these, just don't know if Cameron and company have taken the time and expense to do so.

Originally Posted by Geoff D

They definitely used 5247 on what few daylight exteriors there were, there's a photo of Cameron operating a camera with the info written on the mag, but I'd be verr surprise if they used 5247 on the gloomy interiors as well. As for the mention of being the ones who introduced S35 to America, Tony Scott and Michael Mann and John Alcott would have had something to say about that, the latter having essentially invented Super 35 (then called Super Techniscope) when he made Greystoke in 1984. Hmmm.

Yes, no doubt Mr. Soloman is probably giving himself a wee bit too much credit there re: "introducing Super-35", since by all accounts John Alcott did that in the U.S. with GREYSTOKE, but I don't necessarily negate his comments re: using 100 ASA for all of THE ABYSS, since even back then Cameron wasn't a fan of the heavy grain of 5295 on ALIENS. I saw a 35mm print of the "special edition" cut of THE ABYSS projected in NYC in 1993 prior to the laserdisc release, and while I won't proclaim to say EXACTLY what it looked like by memory, as a film nerd even back then I *DID* pay attention, and it did not look appreciably grainy... EXCEPT for the added 'tidal wave' climactic scene, which to this day is burned in my memory as having looked atrocious on that 1993 35mm print. Just dupey-as-hell and loaded with ugly, "boiling" grain. I remember looking at the later Laserdisc and veing happy they cleaned it up vs. the 35mm print.

But just that scene. The rest of it looked gorgeous and not particularily grainy.

Chris

[starmike]

Originally Posted by KMFDMvsEnya

I haven't read that book in... counts... well shoot thirty years.

Bonus points for using this gif.

[Geoff D]

Originally Posted by Christian Muth

Yes, no doubt Mr. Soloman is probably giving himself a wee bit too much credit there re: "introducing Super-35", since by all accounts John Alcott did that in the U.S. with GREYSTOKE, but I don't necessarily negate his comments re: using 100 ASA for all of THE ABYSS, since even back then Cameron wasn't a fan of the heavy grain of 5295 on ALIENS. I saw a 35mm print of the "special edition" cut of THE ABYSS projected in NYC in 1993 prior to the laserdisc release, and while I won't proclaim to say EXACTLY what it looked like by memory, as a film nerd even back then I *DID* pay attention, and it did not look appreciably grainy... EXCEPT for the added 'tidal wave' climactic scene, which to this day is burned in my memory as having looked atrocious on that 1993 35mm print. Just dupey-as-hell and loaded with ugly, "boiling" grain. I remember looking at the later Laserdisc and veing happy they cleaned it up vs. the 35mm print.

But just that scene. The rest of it looked gorgeous and not particularily grainy.

Chris

Thanks Chris. Maybe one day we'll get the definitive answer. (Tho I'd still expect it to look grainier in 4K than Titanic if both were given a properly 'filmic' transfer.)

[Christian Muth]

Originally Posted by Geoff D

Thanks Chris. Maybe one day we'll get the definitive answer. (Tho I'd still expect it to look grainier in 4K than Titanic if both were given a properly 'filmic' transfer.)

It's funny seeing Soloman crediting himself with introducing Cameron to Super-35, because I have an old 'The Perfect Vision' magazine with an interview with Cameron where he says he considered shooting ALIENS in Super-35, but somebody at the film lab talked him out of it! So it was clearly on Cameron's mind before he worked with Soloman.

Chris

[Geoff D]

Originally Posted by Christian Muth

It's funny seeing Soloman crediting himself with introducing Cameron to Super-35, because I have an old 'The Perfect Vision' magazine with an interview with Cameron where he says he considered shooting ALIENS in Super-35, but somebody at the film lab talked him out of it! So it was clearly on Cameron's mind before he worked with Soloman.

Chris

Aye, Cameron tells the same story in the audio commentary for Aliens.

[bilbofett]

@Geoff D @Ernest Rister @Christian Muth they fixed the missing frames. Confirmed.

[rubystone356]

I didnt notice at jumps at my screening

Jacob

[KMFDMvsEnya]

I thought I saw at least one jumped frame but that could have just been due to the camera pan.

It was shot of Lindsey walking from frame right to left while she is wearing her red vest in one the modules were some folks are sleeping, sometime after the crane incident and maybe before the NTI probe scene.

[RossMan]

Abyss aspect ratio comparison thread:

https://twitter.com/FrameOfRef1989/s...41050953314688

(Longer versions are on twitter feed)

or

https://www.youtube.com/channel/UCOO...s-ZmAvrhprxhIQ

https://www.youtube.com/watch?v=HenqAsywdC4

https://www.youtube.com/watch?v=fKLtUjIvMKw

https://www.youtube.com/watch?v=YTC_AYnrqI8

https://www.youtube.com/watch?v=d_NzQMx_0mE