Not on the first ten minutes... if someone has downloaded the whole side, can say more.

Don't know if it's the same master used for the BD (unlikely, I know) but the two (again, for the first 10 minutes) have the same frames, not one more, not one less.

The Squeeze LD to me is an IP that wasn't baked correctly. Maybe it's how every IP looked, and the gels were applied at the interneg stage?

Zoidberg, usually cigarettes burns only appear either at the interneg stage, or 35mm print stage. IP don't have them, nor the Onegs.

(2017-01-13, 10:52 AM)Stamper Wrote: The Squeeze LD to me is an IP that wasn't baked correctly. Maybe it's how every IP looked, and the gels were applied at the interneg stage?

Zoidberg, usually cigarettes burns only appear either at the interneg stage, or 35mm print stage. IP don't have them, nor the Onegs.

Thanks for the info Stamper, I knew the burns came later in the printing process, wasn't sure when exactly.

Borisanddoris watched the 70mm version in the theater "lately" (yep, more than a year ago), and he recalled the colors of the THX laserdisc are pretty faithful to the print: http://originaltrilogy.com/topic/Termina...e/7#884156

Opinions?

Wouldn't 70mm have different color timing than the 35mm, possibly more faithful to the IP with less grain and contrast addition?

Even the Eastman 35mm and Technicolor 35mm runs of Star Wars seemed to have decently different timings, so it's no surprise to me a 70mm print of T2 would like different than a 35mm one.

I'm aware of the different color timing of Technicolor prints, due to different process used in comparison to non-Technicolor ones; but I don't know if this is the case for T2 35mm and 70mm... if so, we should release two restorations!

According to IMDB T2 was printed onto Eastman 5384 for 35mm/70mm projection, yet we also know that AGFA was also used (I have 35mm film cells on AGFA stock). I can't imagine two different manufacturer's film stocks being identical in terms of colour reproduction, there will probably be (subtle) colour shifts unless they were to alter the timing specifically for each stock.
What's interesting also is on the 8mm forum there are comments on how some of the Derann 8mm prints were biased towards orange, others were towards blue! I guess film labs have good days and bad days like the rest of us.

The O-neg have no color timing, the prints may have subtle (or sometimes not so subtle, I suppose) variations, each different light sources introduces variations, that could also be due to the scanner used... I wonder how one is supposed to get THE right colors...

Given all the different variables (there are many others), I'm sure it is impossible (unless you are lucky, like a national lottery winner) to get a 100% fidelity color reproduction - not only by us, "poor" fans, but even by studios - indeed, we are here to try to solve some of their errors, aren't we?

*maybe* getting different prints (possibly in good shapes, not faded, so minimal to no post processing in the color realm would be needed), scanned with different light sources, using different scanners, and then use and average (and/or median) process would lead to the nearest result. For example, with three prints, four light sources and two scanners, we can have 3 x 4 x 2 = 24 "versions", and orobably an average&median process will be as much closer as the theatrical presentation as a single "version"... of course, in theory...

Historically the answer print is the definitive record of how the film should look, theatrically, at the time of production, 'signed off' as it were by the filmmakers. Unfortunately it seems filmmakers change their minds alot.
On a side note ITV showed T2 last night, in a 16:9 crop. Same old 00s transfer, with bad compression to boot.
On a side note, I finally managed to watch some of your regrade test spoRv (vimeo hates my tablet and smartphone), very interesting! It could be a project in it's own right... the Squeeze laserdisc graded Blu Ray with the PCM, AC3 and mono tracks which are quickly becoming the stuff of legend!

Been searching this site for about 10 minutes now trying to find the "right" place to put out this info and I think this is as close as I'm gonna get, so here it is:

A movie theater in NYC is gonna be playing The Terminator in 35mm next month. Seeing my 2nd favorite movie of all time on 35mm on the big screen is on my bucket list. And since the color timing of this film is such a huge issue, I'll be going in with a pad and pen

If anyone here is interested, let me know so, and I'll post my findings afterwards.