"Se7en" color timing

[Hitcher]

The only thing bothering me is fixing the broken lamp in Brad Pitt's apartment. I don't get this one.

That one is odd because it's broken for the rest of the film.

[Beber]

Got my steelbook in the mail today, with 4 small dents. Never ever again will Amazon get my money on a steelbook since they simply put those in a cardboard enveloppe. I probably should've taken the simple digipack, but it wasn't on preorder at the time. Oh, well, it's not like it's really "Seven" anyway. Plus the few dents match the opening credits in a way... That's how I cope with it for comfort.

[Evit]

This was posted just hours ago, I figured it's about "us".

[dvdmike]

I saw that pop up, clueless stuff

[borisanddoris]

Saw that and commented elsewhere about it but I'll echo my feelings: it's not totally baseless. Color can change from print to print and I'm willing to trust people who worked on the production to have a better idea of what something "should look like" even though we know there are plenty of revisionists out there. Color on film was inherently an analog process and never truly precise. That's one of the strengths of digital filmmaking...you really can be much more consistent and precise.

Using trailers as a sample is not a good look though. Trailers are rarely reliable sources for how a film was supposed to look.

[velocity]

Him using the trailer doesn't really matter here, because the point he was making was just that any source can be digitally manipulated to look different, even if you did happen to start with a reference quality source.

Personally I think he has a point. I tend to be skeptical of fan scans more than retail releases, just because of the limited amount of resources, unless there a good reason to believe otherwise. I mostly find them valuable when the retail release is poor looking, see all the Cameron stuff. Even for something like Se7en, I'd prefer a project akin to D+77, with scan footage spliced only to undo past edits.

[zoidberg]

This is the same guy that did the essay on The Ring. His essays always seem to assume the artist and blu ray release is infallible.

The bigger picture as I see it is that there is a genuine appetite for 35mm scans. It's something a boutique label should be able to exploit, and could potentially be translated to DCP screenings for digital-only cinemas. Much like the children yearn for the mines, People Of A Certain Age yearn for the 35mm prints

[borisanddoris]

I mean technically even an official studio release of a film is a “scan”. I think what most of us lament is revisionists or lazy studios turning films into videos, without any regard for how it at least sort of looked. Differing color timing doesn’t bother nearly as much as AI, DNR, sharpening, and other digital tools that totally ruin the filmic look.

[applesandrice]

Yeah, he makes a reasonable point in that color shift among prints could occur. What he fails to deal with honestly is the tinkering and rewriting of history that occurs when a filmmaker substantively changes the film, adding or erasing elements.

[Virtualcrane]

This was posted just hours ago, I figured it's about "us".

I've seen it. The author is, frankly, a scapegoating tool. He lies and misinterprets the whole video. Some people on twitter and in the comment section politely called him out and he either ignored the criticisms in his reply, deleted the comment, or blocked them. I don't if that means anything but it's interesting.