JACK AND THE BEANSTALK 70th Anniversary Restoration!

[Walrus Gumboot]

Bob, it was a pleasure to back this project! I'd love to see you offer the lenticular cover again as well!

[Robert Furmanek]

Thanks very much for your support!

I considered a lenticular cover but the original artwork for this film does not lend itself to the multi-layering of the other covers we’ve done so I decided against it.

[broadwaybobl]

Am totally going to back this! When does it charge my account? Right away or sometime in the future?

[ltb2.0]

Originally Posted by broadwaybobl

Am totally going to back this! When does it charge my account? Right away or sometime in the future?

Not till the campaign officially ends. Which is Nov 22.

[Robert Furmanek]

Check out today's update for the first stretch goal. We only need to sell 15 additional copies of the Blu-ray to make it happen!

[Thunderleg]

Nice to see the first stretch goal was blazed through so quickly.

[Robert Furmanek]

Stretch goal #2 was just announced!

[Thunderleg]

Not from the US so looking at it through a currency convertor, but it looks like the second stretch goal has *just* been met. This set is going to be heaving with bonus features.

[All Darc]

Review it's up :

Dificult to judge without understand the nature & technical properties of Supercnecolor, and the condition of the surviving elements :

https://www.blu-ray.com/movies/Jack-...4/#Screenshots

[NJPete]

Originally Posted by All Darc

Review it's up :

Dificult to judge without understand the nature & technical properties of Supercnecolor, and the condition of the surviving elements :

https://www.blu-ray.com/movies/Jack-...4/#Screenshots

That's not a review of the new restored version that's the subject of this thread.

[All Darc]

Ok, in the top of this page there is a video where the restorer explain the case, the condition of the surviving elements etc:

https://www.kickstarter.com/projects...-the-beanstalk

Saddly no camera negaive, fine grain or protection master internegatyive survived, but just a short segment of the camera negative.

Despite be a process to compete with technicolor, the Super Cinecolor for this film was shot on Eastmancolor, and printed in Super Cnecolor. The restorer explains the print was 3 generations away from camera negative. A bad print or just the way Sper Cinecolor works for make print???

Robert Harris would be very welcome to give us a light about Super Cinecolor characteristics for this case.

I think this explains the poor quality of the screengrabs. Anyway the restoration effort it's valid and deserves respect.

[Robert Furmanek]

The new review from Mr. Kaufman is for the VCI release.

Wait for the ClassicFlix release in July 2021 for the ultimate edition.

Cinecolor expert Jack Theakston will be providing a featurette on the complex Cinecolor process.

[All Darc]

In 1952 there was already eastmancolor color film negative and color print stocks. SO why use a very complicated process of Super Cinecolor, taking 3 generatrions away from camera negative and reducing a lot of the image definition???

"In 1948, Cinecolor introduced their three-color process. This was possible due to the emergence of three-color materials produced in the new Eastman color and Ansco color stocks, or from films made with the Technicolor three strip camera. Cinecolor never became involved in the actual imaging of a three-color film.


In 1950, Eastman introduced their color print film, type 5381, so it became possible produce a high quality full color print. Cinecolor immediately adopted the Eastman color print film, but used it only for the production of "dailies". For release printing they used the three-color adaptation of their old two-color process as described in the Guldenfinger article. The Sword of Monte Cristo, an independent production released by Twentieth Century-Fox in 1951, was the first three-color Cinecolor feature picture. Like nearly every other film whose title contains the word sword, it was of mediocre quality."

http://www.widescreenmuseum.com/oldcolor/cinecolor2.htm

[All Darc]

Forgive my mistake...

Lookinmg the video of the restoration demo here (top of that page in the link) do not show a great definition and dynamic range. It looks like VCI made the shadows brigther, but without density, while the new restoration prefered to keep the shadows dark to keep some density, as the print had little details on shadows.

https://www.kickstarter.com/projects...-the-beanstalk

But we need to see in 1080p to properly judge.
Anyway it's a sort of hero attempt restoration, raising funds for 4K scanning, trying the best they can. If they hadn't, probably noone would do such thing

Originally Posted by Robert Furmanek

The new review from Mr. Kaufman is for the VCI release.

Wait for the ClassicFlix release in July 2021 for the ultimate edition.

Cinecolor expert Jack Theakston will be providing a featurette on the complex Cinecolor process.

Originally Posted by Robert Furmanek

The new review from Mr. Kaufman is for the VCI release.

Wait for the ClassicFlix release in July 2021 for the ultimate edition.

Cinecolor expert Jack Theakston will be providing a featurette on the complex Cinecolor process.

[Robert Furmanek]

There's a lot of wrong information online about SuperCinecolor.

Wait for the expert analysis from Jack Theakston on our ClassicFlix release.

[All Darc]

Just now I realised you are the guy in the video.

Nice initiative of yours. :-)

Sorry if I say any nonsense. Please correct me if I'm wrong.

Why Super Cinecolor would be a advantage if in 1950 was already possible to direct print from Eastman color negative to a Eastman color print stock?

Originally Posted by Robert Furmanek

There's a lot of wrong information online about SuperCinecolor.

Wait for the expert analysis from Jack Theakston on our ClassicFlix release.

[Smaugone]

From the review of the VCI release...
"This is frankly not the kind of film that will probably ever be granted any kind of major restoration, and in a way it's kind of sad."
Might have to update his review.

[Robert Furmanek]

Originally Posted by All Darc

Why Super Cinecolor would be a advantage if in 1950 was already possible to direct print from Eastman color negative to a Eastman color print stock?

I don’t know but I’m certain the expert on Cinecolor Jack Theakston will address that in his featurette on our ClassicFlix release!

[Jlouisbarrett]

I love expert discussions of film technologies and processes, as well as features about film restoration. I wish more Blu-rays included these kinds of features so I’m very much looking forward to the Jack Theakston featurette on Jack & the Beanstalk!

[Jack Theakston]

Originally Posted by All Darc

Why Super Cinecolor would be a advantage if in 1950 was already possible to direct print from Eastman color negative to a Eastman color print stock?

Cost and quality control. By 1954, Kodak and Ansco had made considerable advancements in their print stocks, which is why Cinecolor abandoned the process and became an all-Ansco lab.