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I never thought about that shot of the the lake and the following lake scene being missing from the French edit! Personally, I prefer the original version of the lake scene over the Redux version. I like the operatic quality of Murong Yin/Yang screaming that was excised from the Redux version.
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The question of color timing is an interesting one. Pre-release trailers aren't usually timed properly. And Redux is a mess, often with blanket yellow tints and the like. That David Bordwell article is also in favor of the Redux version but I think the example he provides looks far worse in Redux than the 35mm shot he provides, which has stronger reds. Maybe it's similar to Wong Kar Wai's recent restorations where the new digital color timing tools were being used to capture something of the intended look, but they went a bit overboard. The photochemically color timed prints often look more natural and subtle than WKW's digital grades, which often look like he just asks them to dial up the green or yellow.
For the upscale I've been working on, I chose to go more towards the Mei Ah look, which I found pleasing overall. Generally, it seems to favor reds more. For the most recent iteration, I'd grown a bit fonder of the subtler TF1 look and sort of split the difference.
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Jet Tone Films Instagram posted that on the 30th there will be somthing regarding a Ashes of Time Collection, with a snapshot of the title from the theatrical cut