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2017-05-24, 10:10 PM
(This post was last modified: 2017-05-24, 10:11 PM by TServo2049.)
Watch the hospital chase scenes on that squeeze disc. You can see natural skin tones, when on every other version, including actual 35mm frames taken from theatrical prints and sold on eBay, it has a very very strong blue tint (doesn't matter what temperature of blue). Those kinds of tints had to be done in the film lab, they couldn't be fully achieved during the actual photography (especially in outdoor location scenes).
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I wonder, if this squeeze LD did not used a timed print as master, may the negative be used instead?
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2017-05-24, 10:19 PM
(This post was last modified: 2017-05-24, 10:22 PM by TServo2049.)
No. You couldn't make a video transfer directly from negatives, certainly not then. It would have been an interpositive of some kind. I have no idea what it was made for or how Pioneer ended up with it.
For a non-Terminator example of what I'm talking about with the hospital scenes, take a look at this thread from another forum about Miami Vice in DVD: http://forums.stevehoffman.tv/threads/mi...768/page-4
Look at the comparison shots of Edward James Olmos, the top picture is how it looked on the original broadcasts, the bottom is the DVD remaster. Looks like the remaster came from an element that didn't have all the color timing that was done to add the blue tint, the scene is supposed to take place at night in an unlit room and Michael Mann used the same "all blue=dark" visual language as Cameron.
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(2017-05-24, 10:19 PM)TServo2049 Wrote: No. You couldn't make a video transfer directly from negatives, certainly not then.
Why not? Studio make this all the time nowadays on BD, and, even if I admit that it would be not a standard procedure at the time, we are talking about laserdisc, Japanese, anamorphic video, so *maybe* they used a new technique (for the time).
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2017-05-24, 10:26 PM
(This post was last modified: 2017-05-24, 10:39 PM by TServo2049.)
The negatives would have been kept in storage, they wouldn't have been sent to Japan to make a transfer for laserdisc.
Maybe Pioneer requested a new IP be made off the negatives so they could get an extra-clean image (especially if this transfer was a downconversion of the MUSE Hi-Vision one, as was suggested in another thread), and they got one that wasn't properly timed. I have no idea, it's just a theory. Maybe the liner notes discuss the origin of the transfer, some LDs (Criterion for example) went into detail about the nature of the film element they transferred. But you'd have to be able to read Japanese.
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I agree that it's very, very, very unlikely they used the o-neg, but not totally impossible...
Liner notes: there are any inside, unless MrBrown has retained a paper sheet; we have a Japanese member, so, if these notes exist, we could always ask him for help!
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The MUSE release should also be checked to see if it has liner notes.
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The MUSE is the one color-wise that I'm interested in going off those pics at LDDB.
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I managed to glean from the back cover the info regarding the MUSE source (it even says that subtitles may be hard to read because of this!) There are 2 liner sheets, one is about Dolby digital and the other is a bizarre rant about squeeze Laserdiscs. I will have another go at translating them. I remember reading a thread on lddb where disclord talked about the hi-vision technical papers recommending 65/70mm telecines for MUSE compression to provide a more stable image and minimise telecine wobble. I doubt that a 70mm element was used for the T2 squeeze, but who knows?
Also dvdmike was right about Aliens, he seems to have a pretty good memory for colour.
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(2017-05-24, 10:19 PM)TServo2049 Wrote: No. You couldn't make a video transfer directly from negatives, certainly not then. It would have been an interpositive of some kind. I have no idea what it was made for or how Pioneer ended up with it.
For a non-Terminator example of what I'm talking about with the hospital scenes, take a look at this thread from another forum about Miami Vice in DVD: http://forums.stevehoffman.tv/threads/mi...768/page-4
Look at the comparison shots of Edward James Olmos, the top picture is how it looked on the original broadcasts, the bottom is the DVD remaster. Looks like the remaster came from an element that didn't have all the color timing that was done to add the blue tint, the scene is supposed to take place at night in an unlit room and Michael Mann used the same "all blue=dark" visual language as Cameron.
It's an IP if it was the oneg all versions would have the same print damage and none if the versions have this damage
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