Best Blu-ray Movie Deals


Best Blu-ray Movie Deals, See All the Deals »
Top deals | New deals  
 All countries United States United Kingdom Canada Germany France Spain Italy Australia Netherlands Japan Mexico
Insidious 4K (Blu-ray)
$29.99
7 hrs ago
Time Bandits 4K (Blu-ray)
$34.99
7 hrs ago
Blackhat 4K (Blu-ray)
$34.99
7 hrs ago
The Last of Us: The Complete First Season 4K (Blu-ray)
$42.99
7 hrs ago
Max Fleischer's Superman (Blu-ray)
$27.99
7 hrs ago
The Rules of the Game 4K (Blu-ray)
$34.99
7 hrs ago
The Italian Job 4K (Blu-ray)
$19.99
7 hrs ago
The Last of Us: The Complete First Season (Blu-ray)
$34.99
7 hrs ago
The Running Man 4K (Blu-ray)
$19.99
1 day ago
Yakuza Graveyard (Blu-ray)
$17.99
2 hrs ago
The Godfather Trilogy 4K (Blu-ray)
$49.99
 
Rocky: The Knockout Collection 4K (Blu-ray)
$47.49
 
What's your next favorite movie?
Join our movie community to find out


Image from: Life of Pi (2012)

Go Back   Blu-ray Forum > Movies > Blu-ray Movies - North America

Reply
 
Thread Tools Display Modes
Old 04-10-2017, 08:01 AM   #461
Pecker Pecker is offline
Power Member
 
Jun 2011
Yorkshire
Default

Quote:
Originally Posted by yellowcakeuf6 View Post
I liked the issue mentioned over at HTF about viewing the Technicolor Imbibition prints with Carbon Arc lighting, which would look significantly different than viewed with modern Xenon projection lightbulbs.
I would think Kino had some pull with getting an IB Tech print as a reference for their color work, but maybe not.
I'd thought about that, too.

My personal experience watching the MGM was that it didn't look anything like as yellow 'in the flesh' as it had when looking at the screen caps.
  Reply With Quote
Thanks given by:
yellowcakeuf6 (04-10-2017)
Old 04-10-2017, 10:45 AM   #462
Geoff D Geoff D is offline
Blu-ray Emperor
 
Geoff D's Avatar
 
Feb 2009
Swanage, Engerland
1037
2335
6
33
Default

Sure, as your own display settings and also that documented "our eyes get used to colour" effect will play their own part. But it still looks yellow as balls on my calibrated SDR 709 display, switching the colour temp to Cool makes the MGM look FAR less piss-drenched. I can't sort out the terrible blacks (and neither can Kino by the looks of it) but one outta two ain't bad.
  Reply With Quote
Thanks given by:
Arch Stanton (04-10-2017), IronWaffle (04-10-2017), Pecker (04-10-2017), yellowcakeuf6 (04-10-2017)
Old 04-10-2017, 11:00 AM   #463
Pecker Pecker is offline
Power Member
 
Jun 2011
Yorkshire
Default

Quote:
Originally Posted by Geoff D View Post
Sure, as your own display settings and also that documented "our eyes get used to colour" effect will play their own part. But it still looks yellow as balls on my calibrated SDR 709 display, switching the colour temp to Cool makes the MGM look FAR less piss-drenched. I can't sort out the terrible blacks (and neither can Kino by the looks of it) but one outta two ain't bad.
I did watch it on a fully ISF calibrated projector.

Ultimately, I enjoyed the film. And after the earlier 'softer' initial MGM Blu-ray Disc it was fantastically detailed and very film-like.

I'll almost certainly be getting this Kino for the TC. But what I'd really like to see from both MGM and Kino is an awful lot more on how they came to their end product, both how they worked and evidence of the original materials which they used for standards.
  Reply With Quote
Thanks given by:
Geoff D (04-10-2017), yellowcakeuf6 (04-10-2017)
Old 04-10-2017, 11:27 AM   #464
Pecker Pecker is offline
Power Member
 
Jun 2011
Yorkshire
Default

I've tried to read up a little on carbon arc vs Xenon, and came across this thread at a cinematography site:


http://www.cinematography.com/index.php?showtopic=19977

The last post struck me:

Quote:
What's interesting regarding the issue of "white point" in digital cinema is that we now have the potential to digitally correct for any color temp variations in Xenon projection so that every viewing of a movie has the same color temp for white.

However, since a projector bulb is the only source of light for a screening, the truth is that we accept it as "white" (our eyes compensate somewhat) even if it's not the exact same color temp as the Xenon bulb in another theater. If our eyes couldn't compensate, then a 16mm screening with a tungsten lamp would look horribly orange.

I mean, we still need standards of course of screen color temp and brightness, but some variations are always going to happen. Even if I make every color print in a book match every other book, I can't know what sort of lighting people will read that book under.
That's from a Hollywood cinematographer.

I'm not suggesting for a second that we 'shouldn't bother'. But all of us have spent years going to the cinema, sometimes seeing prints timed for carbon arc projected by xenon, sometimes seeing prints which have faded and changed, sometimes both of the above at once. And that's before we take into account the fact that no two prints are exactly the same.

The cinemas in which we see films will have different levels of light control, leading to different amounts of contrast on view, and often focus is never as sharp as we'd like.

But we've still all being going along and enjoying the films.

I'm coming to a conclusion that no matter what we have in front of us we'll never know what a director's original intent was in 95% of the catalogue films we view. Even the directors and cinematographers, without a little help won't be able to remember all that accurately, and in the vast majority of cases these reference materials are either not available, or are simply not used.

We only ever hear these discussions for very high profile releases, where a far greater than average amount of time, effort and money has been thrown at a film, and guess what? We still can't agree.

Frankly, if they can't get TGTBATU right, or even agree on what 'right' is, or Suspiria (hope you've all been keeping up*), then I need to ask you all a very scary question. How accurate are all of your other catalogue Blu-ray Discs?

Because it seems to me that the chances are, given the relative lack of TLC that most of your catalogue titles have had applied, the majority will be nowhere near what they should be.

Anyway, that leaves me with a choice. Continue worrying or start enjoying.

* For those who haven't, guess what? The Italian restored version, colour timed after comparison to original reference prints, looks a bit greeny/yellow. Ring any bells?
  Reply With Quote
Thanks given by:
IronWaffle (04-10-2017), lemonski (04-10-2017), Se.Vero (04-12-2017), yellowcakeuf6 (04-10-2017)
Old 04-10-2017, 11:56 AM   #465
Pecker Pecker is offline
Power Member
 
Jun 2011
Yorkshire
Default

Sorry to go on.

I love films.

Because I love films I want them to look as good as possible.

I need to be...CONFIDENT that what I'm seeing is what I should be seeing.

As I learn more, I find this means looking as close to a director's and/or cinematographer's intent as possible.

So I spend thousands of pounds on my projector.

I spends hundreds getting it calibrated.

I've lost count how much on Blu-ray Discs, double dipping, buying 'better', 'more accurate' new releases.

And I spend many, many hours here and elsewhere reading and learning.

And where does all this get me?

Taking TGTGBATU as an example, I'm:

- NOT confident that the releases I've seen for years are correct (because of the changes MGM & Co. deliberately made after finding it necessary when researching the restoration - guys, they didn't do this for fun)
- NOT confident that the MGM is correct, as so many criticise it
- NOT confident that Kino's will be any more accurate
- NOT confident any viewing of Suspiria I've ever had, or ever will have, will be accurate
- NOT confident, because of all this, that any of my Blu-ray look as they should

In other words, everything I've done, every pound spent, every minute reading, has had the opposite effect to what I wanted.

  Reply With Quote
Thanks given by:
yellowcakeuf6 (04-10-2017)
Old 04-10-2017, 12:42 PM   #466
yellowcakeuf6 yellowcakeuf6 is offline
Blu-ray Guru
 
yellowcakeuf6's Avatar
 
Nov 2008
-
-
-
16
Send a message via ICQ to yellowcakeuf6
Default

Maybe all HT projectors should come with a carbon arc lighting setting. I imagine it is difficult to see carbon arc projection anymore. They took them all out with the asbestos (which is making a comeback under Trump!). I think the fumes from the burning carbon rod were toxic, and of course that was the era of booth fires! Projectionist was a potentially dangerous profession then, almost as dangerous as releasing a Blu-ray now with questionable color.
  Reply With Quote
Thanks given by:
Pecker (04-10-2017)
Old 04-10-2017, 12:50 PM   #467
Geoff D Geoff D is offline
Blu-ray Emperor
 
Geoff D's Avatar
 
Feb 2009
Swanage, Engerland
1037
2335
6
33
Default

Quote:
Originally Posted by Pecker View Post
In other words, everything I've done, every pound spent, every minute reading, has had the opposite effect to what I wanted.
Well, as the Stones said: you can't always get what you want. If people end up chasing the rabbit of accuracy down so many holes that it's starting to adversely impact their viewing pleasure then that's not right either.

I'm bit of an autodidact when it comes to all this stuff admittedly, but after all the years I've been chasing after the latest and greatest presentation I've come to one conclusion: the look of x film has always been something of a moving target, even in cinemas, and more so once the filmmakers (and I mean the above-the-line talent here) have passed away. Gordon Willis lit his films right near the toe of the sensitometric curve (he wasn't called the "Prince of Darkness" for nothing) so that they simply couldn't be timed any other way during printing but we still ended up with lots of different looks for his stuff on video over the years. And he hated the Blu-ray of All The President's Men, IIRC.

An incorrect grade doesn't make it right, but my wider point is that it's nice to assume that directors and DPs always run the rule over their home video grades but quite often we're seeing someone else's interpretation - yet we enjoy them all the same, not having a reference print to hand. Heck, even when they are involved with the video release the look can vary dramatically from version to version (paging Ridley Scott) and they know it's not the full-fat version, e.g. Luciano Tovoli said this about the old Suspiria remaster when talking to American Cinematographer in Feb 2010:
Quote:
"I worked with a very talented colorist, Fabrizio Conti, and we tried to stay as close as possible to the look of the original,” he says. “I think we did an extremely good job, but it is impossible to compare even the best digital master to a film printed with Technicolor’s dye-transfer process, especially for a film as extreme as Suspiria!”
Now, if it sounds like I'm being an apologist then that's not to say that I'd actually embrace it if everything got a Friedkin-style pastel colour-bleed nightmare or Storaro 2:1 crop foisted upon it, nor do I change my settings for EVERY film I watch as that would undercut the entire point of correct calibration, but if things don't look quite right and I can massage it a little to get it to look more pleasing to my eye, then I'm gonna do it.

I took the mickey out of steel_breeze and his spreadsheet of per-film adjustments that he's got but now I realise there's method in his madness. And this still doesn't excuse the one-note look that L'Immagine Ritrovita keep pumping out for film after film after film, but as Shout proved when they recoloured the new Bruce Lee 4K remasters you can get them looking much more respectable with a lil' bit of work.

TL;DR

I'm a bit more relaxed about all this junk now. Some things still piss me off like Ritrovita's incessantly sallow colour timing and Universal's never-ending love affair with DNR, but if I can wangle it to look a little better then I will do so.
  Reply With Quote
Thanks given by:
HeavyHitter (04-12-2017), lemonski (04-10-2017), Pecker (04-10-2017), theduder (04-12-2017), yellowcakeuf6 (04-10-2017)
Old 04-10-2017, 12:54 PM   #468
eurospec19 eurospec19 is offline
Active Member
 
Feb 2013
Default

There's another thread over at HTF where the comment made by "haineshisway" about carbon arc vs. xenon light source issue has been previously addressed by another member with access to scans of several vintage IB tech prints. This is what he had to say:

Lil Brutto says:
"How about if you have 6 dye transfer prints from around the world (US, German and Italian) at your disposal and they all are comparable with each other? On top of that a screening of another US dye transfer print had an image similar to the 6 dye transfer prints. Of course there's some color variability across prints/reels, and even any bias that results from the conversion from analog to digital color space, variability in computer monitors/TVs etc we've yet to see a print source that looks anything like the MGM 4K BD."


The "screening of another US dye transfer print" is at The New Beverly in LA in summer 2015.

haineshisway says:
"Once again, one must take into account that any showing of any dye transfer print that was timed for carbon arc projection has to be seen with that projection, rather than today's Xenon bulbs. If adjustments aren't made for that you're not seeing the print as it was shown back in the day."



Lil Brutto says:
"The necessary adjustments to correct for the light source have already been made to the scans."



Lil Brutto says: "...a total of 7 serving as color references, which at the very least should give an acceptable approximation of what it looked like in theatres in the late 60s."


You can read more about it here:

https://www.hometheaterforum.com/com....333332/page-8

Lil Brutto recently reached out to KL to share his group's findings with them but he got no response:

"Thanks for your reply, MisterLime.

So you're conforming the 4K master to the US theatrical cut (aka International Cut). Not many people are aware that Creative Films S.L. in Spain released a DVD years ago that conformed the 2003 extended cut master to the International Cut. It will be great to finally have a HD version with some improvements in the image versus the MGM 2014 BD. Please find below some screenshot comparisons of the 4K master compared with a 35mm IB tech print so you can see how big a difference there is:

http://imgur.com/a/uiBBI
http://imgur.com/a/eBJdO

You may be interested to know that some hardcore GBU fans acquired a 1966 Italian IB tech print that is the longest known version of the film and includes footage that has not been shown in any official release. It includes the full Tuco torture scene, the "skeleton shot" and some additional extended shots in other scenes. You can see videos of this unseen footage - with sound - using the links below:

http://theeditroomfloor.blogspot.ca/...-and-ugly.html
http://theeditroomfloor.blogspot.ca/...nd-ugly_7.html

Based on an Italian book published around 2000 that documents all the 35mm elements that were available to the Italian film restoration team at the time, this Italian IB tech print in private hands has the longest cut of the film available and is likely the same version as the 35mm print in the possession of Cineteca Nazionale since 1970 (described below):

Element: positive copy of the Cineteca Nazionale (9 parts)
Length: 4.832,80 meters
Duration: 176’39”
Frames: 251.305
Source of information: material examination at the laboratory (19th July 2000)
Notes: contains both the frames and the sequences corresponding to the 3.363 frames eliminated in 1966 as well as the 346,2 meters cut in 1969. The measurement has been taken on the sole scene, including the opening and closing credits, excluding the tails and 6 meters of the two signs “end of first half” and “second half” which are present in this copy but absent in all the others. Despite containing all the scenes present in the negatives, including those substituted by transparent frames, this copy is slightly shorter due to some occasional loss of some frames and ruptures which occurred during the sporadic screenings of the movie over the past 30 years.

Is it possible for you to check with MGM if they have all the footage provided in the blog above? Their source may even include other unique footage so it would be an opportune time for scrutinization of those elements.

I hope you find this information helpful. If you wish to discuss further please don't hesitate to send me a PM."


Last edited by eurospec19; 04-10-2017 at 01:14 PM. Reason: added more info
  Reply With Quote
Thanks given by:
AlexIlDottore (04-10-2017), Davidian (04-10-2017), Pecker (04-10-2017), Richard1485 (04-10-2017), yellowcakeuf6 (04-10-2017)
Old 04-10-2017, 01:08 PM   #469
Cinema84 Cinema84 is offline
Blu-ray Archduke
 
Cinema84's Avatar
 
Jun 2012
NJ
-
-
-
135
Default

Quote:
Originally Posted by JohnCarpenterFan View Post
A release print isn't even the best indicator of how a film should look but it's a hell of a lot better than nothing, and if Kino are ignoring those who are willing to help them out, then shame on them.
I think what it comes down to is lack of time. Kino has picked up so many titles that they seem to just be cranking most of them out without much fanfare. Sure, they're doing a bit of work on TGTBATU but this will ultimately join their lineup as just another release. Personally, I think they should set aside a bit more time and money for tentpole titles like this. They could also come up with special packaging, like a digibook, to make these releases stand out.
  Reply With Quote
Old 04-10-2017, 01:18 PM   #470
yellowcakeuf6 yellowcakeuf6 is offline
Blu-ray Guru
 
yellowcakeuf6's Avatar
 
Nov 2008
-
-
-
16
Send a message via ICQ to yellowcakeuf6
Default

Quote from Pecker:

Sorry to go on.

I love films.

Because I love films I want them to look as good as possible.

I need to be...CONFIDENT that what I'm seeing is what I should be seeing.

As I learn more, I find this means looking as close to a director's and/or cinematographer's intent as possible.

So I spend thousands of pounds on my projector.

I spends hundreds getting it calibrated.

I've lost count how much on Blu-ray Discs, double dipping, buying 'better', 'more accurate' new releases.

And I spend many, many hours here and elsewhere reading and learning.

And where does all this get me?

Taking TGTGBATU as an example, I'm:

- NOT confident that the releases I've seen for years are correct (because of the changes MGM & Co. deliberately made after finding it necessary when researching the restoration - guys, they didn't do this for fun)
- NOT confident that the MGM is correct, as so many criticise it
- NOT confident that Kino's will be any more accurate
- NOT confident any viewing of Suspiria I've ever had, or ever will have, will be accurate
- NOT confident, because of all this, that any of my Blu-ray look as they should

In other words, everything I've done, every pound spent, every minute reading, has had the opposite effect to what I wanted.

--------------------------------------------------------------------------------------------------------------------------------------------------------------


Another thing to maybe think about is that a print could look very different at the end of its run in the same theater due to fade, wear and bad handling.
I complained/got my money back on a film that by the second day had damage down one side and audio problems from being mishandled on the platter. This usually happened at the new multiplex.

Last edited by yellowcakeuf6; 04-10-2017 at 01:30 PM.
  Reply With Quote
Thanks given by:
Pecker (04-10-2017)
Old 04-10-2017, 03:50 PM   #471
whipnet whipnet is offline
Senior Member
 
whipnet's Avatar
 
Aug 2016
Korova Milk Bar
16
228
420
1056
1208
1
111
Default

Color has a lot to do with human perception. But we've all learned that certain colors we perceive have certain names so we call them that.

There are tribes that have been studied that show that we do not see colors the same. When presented with a blue and a green, they have a hard time seeing the difference. They also have no name for white, they explain that color as "clear"

It's all how we learn what colors are called at a very early age.

Fact? Who knows, just something to ponder when the color of a movie has you piqued.

More:
http://www.apa.org/monitor/feb05/hues.aspx
  Reply With Quote
Thanks given by:
Pecker (04-10-2017), Rodney-2187 (04-10-2017)
Old 04-10-2017, 03:53 PM   #472
Pecker Pecker is offline
Power Member
 
Jun 2011
Yorkshire
Default

Many thanks.

Quote:
Originally Posted by eurospec19 View Post
There's another thread over at HTF where the comment made by "haineshisway" about carbon arc vs. xenon light source issue has been previously addressed by another member with access to scans of several vintage IB tech prints. This is what he had to say:
This is all well and good, but regarding:

Quote:
Lil Brutto says:
"How about if you have 6 dye transfer prints from around the world (US, German and Italian) at your disposal and they all are comparable with each other? On top of that a screening of another US dye transfer print had an image similar to the 6 dye transfer prints. Of course there's some color variability across prints/reels, and even any bias that results from the conversion from analog to digital color space, variability in computer monitors/TVs etc we've yet to see a print source that looks anything like the MGM 4K BD."

Has he really? Who is he? That's a collection (6 dye transfer prints, all from different countries) where I'd be sceptical if Leone's widow claimed she had that many!

By the way, I opened that link and in page 1 we have a quote from Robert Harris:

Quote:
Any dye transfer print used as reference is a bit of a fool's errand, unless one has a CORRECT dye transfer print.

While I'm not suggesting that an incorrect use of reference is at fault here, I've made the point before, and will make it again, that there is absolutely nothing that makes a typical dye transfer print magically reference material.
And that, I believe, should put a cap on every discussion based on colour accuracy using a standard dye transfer print as a reference.
  Reply With Quote
Thanks given by:
lemonski (04-10-2017)
Old 04-10-2017, 03:54 PM   #473
grim_tales grim_tales is offline
Blu-ray Samurai
 
Jul 2013
St. Albans, UK
Default

Kino should want the release of TGTBATU to look and be the best it can.
I think its best to wait for reviews at least, then we can get a better impression of what it looks like (as opposed to a half/half screenshot, which could still be being worked on for all we know, even if its "guessing").
  Reply With Quote
Old 04-10-2017, 05:08 PM   #474
yellowcakeuf6 yellowcakeuf6 is offline
Blu-ray Guru
 
yellowcakeuf6's Avatar
 
Nov 2008
-
-
-
16
Send a message via ICQ to yellowcakeuf6
Default

Quote:
Originally Posted by Pecker View Post
Many thanks.



This is all well and good, but regarding:



Has he really? Who is he? That's a collection (6 dye transfer prints, all from different countries) where I'd be sceptical if Leone's widow claimed she had that many!

By the way, I opened that link and in page 1 we have a quote from Robert Harris:



And that, I believe, should put a cap on every discussion based on colour accuracy using a standard dye transfer print as a reference.
Ideally, post original negative scan, a late answer print interpositive or even the print master internegative (used to strike prints) would be best to reference. I'd still consider an IB Tech print over some guy's memory.
  Reply With Quote
Thanks given by:
AlexIlDottore (04-10-2017)
Old 04-10-2017, 05:11 PM   #475
AlexIlDottore AlexIlDottore is offline
Banned
 
Jan 2014
France
160
389
39
Default

Quote:
Originally Posted by yellowcakeuf6 View Post
Ideally, post original negative scan, a late answer print interpositive or even the print master internegative (used to strike prints) would be best to reference. I'd still consider an IB Tech print over some guy's memory.
And personal taste.
  Reply With Quote
Thanks given by:
yellowcakeuf6 (04-11-2017)
Old 04-10-2017, 05:16 PM   #476
eurospec19 eurospec19 is offline
Active Member
 
Feb 2013
Default

Quote:
Originally Posted by Pecker View Post
Has he really? Who is he? That's a collection (6 dye transfer prints, all from different countries) where I'd be sceptical if Leone's widow claimed she had that many!
It's true. It's actually "them" not one individual. Amazing what a small group of dedicated fans can achieve with limited resources but infinite determination and resourcefulness.

Quote:
Originally Posted by Pecker View Post
And that, I believe, should put a cap on every discussion based on colour accuracy using a standard dye transfer print as a reference.
I'm in agreement if one is basing it on a single print. Especially considering, in addition to the factors already mentioned by others above, that there is variability in dye transfer prints struck at the beginning versus at the end of a production run of theatrical due to wear of the color separation negatives, etc.

But 6-7 dye transfer prints struck at different times? That's pretty convincing and hard to dismiss.

Last edited by eurospec19; 04-10-2017 at 05:29 PM.
  Reply With Quote
Thanks given by:
Richard1485 (04-10-2017), WaverBoy (04-10-2017)
Old 04-11-2017, 12:32 PM   #477
Pecker Pecker is offline
Power Member
 
Jun 2011
Yorkshire
Default

Quote:
Originally Posted by eurospec19 View Post
It's true. It's actually "them" not one individual. Amazing what a small group of dedicated fans can achieve with limited resources but infinite determination and resourcefulness.



I'm in agreement if one is basing it on a single print. Especially considering, in addition to the factors already mentioned by others above, that there is variability in dye transfer prints struck at the beginning versus at the end of a production run of theatrical due to wear of the color separation negatives, etc.

But 6-7 dye transfer prints struck at different times? That's pretty convincing and hard to dismiss.

More information, please.

Who are 'they'?

Have they physically got the prints together?

At least one of those mentioned is a cinema viewing of an American print, so that's based on their memory of what they've seen in a cinema.

More information is required before any weight at all can be given.

Last edited by Pecker; 04-11-2017 at 12:39 PM.
  Reply With Quote
Old 04-11-2017, 01:23 PM   #478
Lope de Aguirre Lope de Aguirre is offline
Power Member
 
Lope de Aguirre's Avatar
 
May 2010
Cologne, Germany
164
484
63
1
2
Default

Quote:
Originally Posted by Akijama View Post









I'm sorry but I prefer the yellow version on the left.
I am not a big fan of the yellow. I guess somewhere between the Mondo and the 4k would be perfect.

I give Kino credit for listening and trying but I don't like the result.
It has to at least lose a lot of the teal.

Yellow sand, all right. This westerns in teal? Argh!

I will buy this anyway for the new commentary but I guess I will watch the yellow 4k version I already own.
  Reply With Quote
Old 04-11-2017, 04:00 PM   #479
Markgway Markgway is offline
Blu-ray Duke
 
Markgway's Avatar
 
Jul 2013
Scotland
12
Default

Quote:
Originally Posted by Lope de Aguirre View Post
I'm sorry but I prefer the yellow version on the left.
I am not a big fan of the yellow.
  Reply With Quote
Thanks given by:
dallywhitty (04-11-2017), flyry (04-13-2017), HeavyHitter (04-11-2017), Retroj23 (04-12-2017)
Old 04-11-2017, 04:05 PM   #480
eurospec19 eurospec19 is offline
Active Member
 
Feb 2013
Default

Quote:
Originally Posted by Pecker View Post
More information, please.

Who are 'they'?

Have they physically got the prints together?

At least one of those mentioned is a cinema viewing of an American print, so that's based on their memory of what they've seen in a cinema.

More information is required before any weight at all can be given.
"They" are fans who came together after the 2014 MGM 4K release to determine how the film actually looked during its original theatrical presentation. Over the past 3 years they have approached collectors around the world, of whom some generously lent their vintage prints to the project.

One of them flew down to LA for the IB tech screening at The NewBev and took copious notes (in the dark) of all aspects of the projected image during the presentation and then flew home that same night. Crazy!
  Reply With Quote
Reply
Go Back   Blu-ray Forum > Movies > Blu-ray Movies - North America


Thread Tools
Display Modes

Posting Rules
You may not post new threads
You may not post replies
You may not post attachments
You may not edit your posts

BB code is On
Smilies are On
[IMG] code is On
HTML code is Off

Forum Jump


All times are GMT. The time now is 06:05 PM.