Luckily that one is already available for download

Thanks for the visuals. Ironically when I compared all my various copies I wound up using this section by chance.

If I'm perfectly honest there may be no definitive answer in terms of grading. With the DC being 10 years younger and hastily done they seemed to have had no real time to prepare the prints nor grade them any differently than the US interpositive. That's why I feel the DC has a more natural look/feel that is marred slightly in the LD and DVD by concessions made in video mastering constraints at the time.

Every successive version is timed differently and apparently Scott has gone for the modern timing trends as after a certain point not only his films depict this but also some of the remastered ones...or at least with the archivals that could be Warner MPI who does that on practically every film they work on from pretty much 2006/07 onwards-even films that aren't theirs.

But the work so far looks extremely promising. Thanks again for all the hard work.

The Warner and Criterion regrades both have their merits. Thanks for the comparison! I never tire of watching that scene.

(2017-06-06, 10:33 PM)captainsolo Wrote: Thanks for the visuals. Ironically when I compared all my various copies I wound up using this section by chance.

If I'm perfectly honest there may be no definitive answer in terms of grading. With the DC being 10 years younger and hastily done they seemed to have had no real time to prepare the prints nor grade them any differently than the US interpositive. That's why I feel the DC has a more natural look/feel that is marred slightly in the LD and DVD by concessions made in video mastering constraints at the time.

Every successive version is timed differently and apparently Scott has gone for the modern timing trends as after a certain point not only his films depict this but also some of the remastered ones...or at least with the archivals that could be Warner MPI who does that on practically every film they work on from pretty much 2006/07 onwards-even films that aren't theirs.

But the work so far looks extremely promising. Thanks again for all the hard work.

Agree with the grading part. Although I do like to find evidence whether it's right or wrong as witnessed in this thread, without a bunch of LPP prints from '82 (or looking at an IP), it's hard to determine anything. That's why I'm just calling this a regrade to the DC LD and nothing more.

The DC LD does have a bunch of uniquely color timing shots like the noodle bar, but seems overall to be between the Criterion LD and the BD. At least that's what it looks like so far.

(2017-06-06, 11:40 PM)Chewtobacca Wrote: The Warner and Criterion regrades both have their merits. Thanks for the comparison!  I never tire of watching that scene.

Thank you Chew.

This may be more a curiosity than anything, but the Barbican in London have a science fiction exhibition on at the moment called Into the Unknown, with various lovely bits of film history on display - the highlight for me being the spacesuits from Alien, ST:TMP, Sunshine, Moon and Interstellar!

Anyway, I spotted these on a lightbox - they're 'studio colour transparencies from 65mm final composites' - I guess that means effects master shots?







There were a few more of street-level stuff, but these seemed the most relevant to this discussion. The whole exhibition is well worth a look for anyone in those parts over the summer.

(2017-06-10, 11:10 AM)jonno Wrote: This may be more a curiosity than anything, but the Barbican in London have a science fiction exhibition on at the moment called Into the Unknown, with various lovely bits of film history on display - the highlight for me being the spacesuits from Alien, ST:TMP, Sunshine, Moon and Interstellar!

Anyway, I spotted these on a lightbox - they're 'studio colour transparencies from 65mm final composites' - I guess that means effects master shots?







There were a few more of street-level stuff, but these seemed the most relevant to this discussion. The whole exhibition is well worth a look for anyone in those parts over the summer.

Very interesting, thanks Jonno. It does look red like a lot of the DC LD but who knows.

For comparison:

Jonno's 35mm/BD/Criterion Regrade/Warner DC Regrade


I wonder what studio colour transparencies from 65mm final composites are. I get it's the complete SFX composite on 65mm and what would be printed down on 35mm but is this for color posterity or something else?

The rich yellow on the Criterion has always struck me as very distinctive. Somehow, it seems to fit the mood of the sequence.

It is one of the two big mysteries to me. The Embassy tape, Embassy LD, Criterion LD and The Warner DC LD/DVD all have the day look for the entire trip to the Tyrell pyramid. The colors vary to be sure but there is consistent as opposed to the BDs which have the trip to Tyrell's in dark night until they reach the pyramid where there are a few shots in light/dawn.

Its odd to me that there is such a difference. I can understand colors being different but that seems to me to be a willful change. One is a trip through a murky, polluted day to Tyrell's and the other a trip in darkness until dawn. Very odd.

(The other is when Decker confronts Priss. The BDs have the room as pink where other media has it brown/green)

It baffles me too.  Perhaps a night filter was left off in some releases (like FaFDM or Conan the Barbarian) or Ridley Scott revised the sequence later.

EDIT: I'm fairly sure that the scene with Pris is meant to be pink. If I remember correctly, the pink is mentioned in a commentary or documentary or some such.

Yeah if you are a classics fan like I am you realize how bad studios screw up sometimes. A lot of classic color films from the 50s on are restored from the negative and they forget the day-for-night color timing often. It is very annoying.

Thanks for the info on the Priss scene Chew.