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#4117249 A few words about...™ Warner Bros. Home Video & The WB Archive Collection...

Posted by Robert Harris on July 21 2014 - 10:10 AM

I have been reading seemingly constant complaints on line regarding Warner Bros. and presumed non-activity or lack of interest in bringing important catalog titles to the home video market.

 

Wrong.

 

Several weeks ago, I had a meal with friends from WB, and while I cannot report titles, I can report that things are alive and well at both Warner Home Video, as well as the Warner Archive Collection.

 

2015 portends to be their biggest year since the start of the format.

 

A quick overview.

 

Three-strip Technicolor.  Minnelli.  Bogart.  Flynn.  Davis.  Astaire.  Garbo.  Sinatra.

 

Hammer Horror is a high priority.

 

The immense amount of work (and expense) that must go into each film to make it right for Blu-ray can sometimes hold things up, but what's coming represents some of the finest productions from the Golden Age of Hollywood.

 

I would start saving up now.  For those who love classic cinema, it's going to be an expensive year.

 

RAH


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#4133830 MY FAIR LADY 4K restoration completed! Dec. 9th release announced (Post #...

Posted by Robert Harris on August 26 2014 - 03:46 PM

Read the Article about the restoration in American Cinematographer - very interesting. Now I am looking forward to seeing MFL on Blu-ray or even better in 4k and I finally know what RAH has been up to for a bigger part of this year :)

 

Final touches still going in.  It will be a safe purchase.

 

A very safe purchase.

 

RAH


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#4132936 MY FAIR LADY 4K restoration completed! Dec. 9th release announced (Post #...

Posted by Chuck Pennington on August 24 2014 - 09:39 PM

I was at THE REEL THING event in LA this weekend where some before and after restoration comparisons were shown of a new 4K MY FAIR LADY - and it all looked and sounded glorious. :-) They presenter said that CBS was not quite ready to announce anything related to the title yet (theatrical bookings, Blu-ray, etc.), but I thought you guys might want to know that it is definitely coming. :-)
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#4054480 Mike Frezon Status Report

Posted by Mike Frezon on February 20 2014 - 10:07 AM

Hmmmmmm.

 

A "Mike Frezon Status Report."

 

Now THAT'S not something that you see everyday!  :biggrin:

 

I'm gonna have to keep this quick (but I will be sure to come back for/with more when conditions allow).

 

The health problems are more than just the PE.  There was also internal bleeding (which caused ALL kinds of problems, And a perforated bowel which required emergency surgery along with various procedures to drain fluid from around my lungs. 

 

I have been off the forum for weeks.  I hadn't checked any of the various threads (Round-Ups) and otherwise which had appeared.  But when Ric Easton arranged--thru my wife Peggy--to stop by one night and explain all that had been going on and to present me with a printout of all these well-wishes...let me just say it was rather overwhelming.

 

I am sure I will be starting to find my way back to the forum now on a more regular basis.  I am recuperating with a healthy WIFI connection, my PC and LOTS and LOTS of time on my hands--although I'm sure a lot of that will be devoted to, oh...."getting better stuff."

 

To one and all:  Thank you for all the prayers and well-wishes.  It was amazing to find out what you all have been up to.


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#4033248 Dear Twilight Time: I Can Live With Your Prices, But Hate Your Forced Timelines

Posted by Twilight Time on December 19 2013 - 04:24 PM

When HTF member, Dick, brought this issue to my attention last week, I told him I would look into it at our authoring house. Since we at TT had never realized the timeline was an issue, we simply assumed it was a part of the generic blu-ray authoring process. We were informed by the facility today that the timeline is optional, so starting with the Jan releases, and then going forward from there, TT discs will no longer have one. You learn something new every day.

 

Happy holidays!

 

All best,

 

Nick.


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#4154266 WKRP In Cincinnati: The Complete Series Review (See Posts #218 & 356 for...

Posted by Brian Himes on October 11 2014 - 05:52 PM

Here is the entire series and everything that I found. I put all of my posts together for an easy handy reference guide.

 

Season 1

 

Pilot: No music edits. Running time: 24:55. There is also an original bumper (Gary Sandy doing a voice over as Andy) just before the tag scene. 

 

Pilot, part 2: No music edits. Running time: 25:13. 

 

Les On A Ledge: No music edits. However, there is a slight edit. Herb’s line, ‘Les, I’ve thought about it and it’s okay if you’re a homo’, has been redubbed to say ‘gay’ instead. Running time: 25:13. This episode also has an original bumper (Loni Anderson voice over as Jennifer) just before the tag scene.

 

Hoodlum Rock: No music edits. Running time: 24:55.

 

Hold Up: There are two musical edits. Van Halen's Atomic Punk is missing. This is the song heard when Dell turns on the stereo. There is no dialogue over the song so the music replacement does not interfere with the scene so there is nothing edited. Just a music substitution. The music used is generic rock music. Period appropriate and sounding so it isn't noticeable. I can live with this. 

 

The other music edit is a bit more puzzling. Linda Ronstandt was on the list of artists whose music would be on the set, however Back In The U.S.A has been cut. Thus around 55 seconds is missing from the episode. The missing segment begins just after you hear Johnny say it's time to play another record. It then cuts to the footage of Carlsons' s car. The entire segment where Herb comes into the booth and Carlson saying he wants Herb killed is missing. Sorry folks. Running Time: 24:19.

 

Bailey's Show: No music edits. Running time: 25:05.

 

Turkey's Away: As I already mentioned Pink Floyd is gone. The scene is handled very well. The substituted music that is used does have barking dogs and it does sort of sound like Pink Floyd. So the dogs joke is there but Mr. Carlson asking for the name of the orchestra line and Johnny's response (naming Pink Floyd) and the next two lines has been edited. It picks up where Carlson mentions Pigs on the Wing. Without Pink Floyd, this is the best that could be accomplished with the scene. The scene is still funny, and all of the jokes are still there and not ruined. In my opinion Shout did an excellent job preserving 99% of the scene. Loads better than the old Fox DVD set. All other music in the episode is intact. Running time: 24:55.

 

Love Returns: No music edits. Ray Charles, The Rolling Stones and Linda Taylor's song at the end are all present. Running time: 25:08.

 

Mama's Review: No music edits. Running time: 25:08. The scene with Venus is intact and it seems to have the original music. I don't know what the song is, but Venus talks through the entire scene and there is no overdubbing. So, since Fox cut the scene on their season 1 set, I can't help but assume that this is the original scene as originally aired. 

 

This episode does have one small imperfection. At the end, it fades to black (like it should) but then you hear the ending credits music, but Loni Anderson's credit is missing. You just see a black screen. The picture pops back in during Richard Sanders credit. This imperfection might be present on the original master tape and can't be corrected. It's just a minor thing but I thought I'd mention it.

 

A Date With Jennifer: No music edits. Running time: 25:07. There is an original generic bumper before the tag scene. Also there is a slight video imperfection during the scene in Andy's office just before Jennifer comes in with the new memo. It only lasts a brief moment but I wanted to mention it.

  

I gotta say here that having Hot Blooded back in the episode sure makes this episode so much better. Brilliant scene. 

 

The Contest Nobody Could Win: No music edits. Yes, the original contest songs are all there. Running time: 25:08. An original bumper is used before the tag scene. 

 

Ok, this is going to take some explaining. I'm not sure what happened here. There are some major edits to this episode. In the original version, just after the whole suits versus dungarees speech between Les and Herb, the scene cuts to Carlson's office and he's talking with Jennifer about the whole suits/dungarees thing. Then Andy comes in and says Johnny wants to pay back the $5000. The conversation between Andy and Carlson continues with mentions of putting Herb back in charge of promotions and Les back in charge of station publicity, Andy is to just program the music and also that the prize will be given out in cash and it's been promoted on the air all morning long. Herb and Les come in with the money. Jennifer then comes in and says the winner will be coming in early. The scene then changes to the lobby and the winner (Vincent Schiavelli) is there. He gets the money and meets Johnny just before he leaves. Johnny escorts him to his car. The real winner enters and the deception is revealed. Johnny then comes back with the cash and tells Carlson that he owes Johnny $12.50. Then the tag scene ending credits with Nicolette Larson's Lotta Love is heard and the next contest (underwear) and prize (lip gloss) is revealed. After that you get the standard ending credits with the usual ending credits music.

 

On the new set, after the suits versus dungarees speech with Les and Herb, the next scene is in Carlson's office and it's between Herb, Les, and Carlson. Lots of the dialogue is different then the original versions, but the points are basically the same. Herb and Les will be resuming some of their previous responsibilities, and the prize will be in cash. There is no mention of Johnny wanting to pay back the money. Andy leaves the office when the fake winner arrives. The fake is played by a different actor (John Wheeler). The fake doesn't meet Johnny nor does Johnny escort the winner to his car. The real winner comes in (in this version Jennifer is present during the reveal of the fake). Johnny does not get the money back. The next scene is the tag scene in the booth between Johnny and Venus. Johnny is borrowing money from Venus. It is revealed that Johnny has to pay the money back and it is not $5000 but $10,000. He plays a public service announcement asking for donations to help pay the winner his $5000. Johnny then announces the new contest (guess his underwear) and the prize (lip gloss). Standard ending credits with the usual ending credits music. 

 

The only thing that I can speculate is that Shout used alternate scenes so they could edit out Lotta Love at the end and still preserve the underwear/lip gloss joke. It seems a bit of over kill to totally alter half of the second act of the episode to eliminate just one song. And a song that plays over the ending credits of the tag scene at that. Even more puzzling is the fact that the original scenes are on the Fox DVD. Very, very odd to say the least. I think that someone needs to have this addressed by Shout. Like I said, I'm not sure exactly what happened here. 

 

Tornado: No music edits. Running time: 25:09. There is a bumper just before the tag scene. Les does play the Star Spangled Banner and not America The Beautiful. So, that scene is as it originally aired.

 

Goodbye Johnny: The Beach Boys, Surfin USA is gone. The same generic surf music that was used on the Fox DVD is used again here. However, the song Johnny plays for his Cincinnati Snow Shoe Shuffle Stomp (love that) that Fox substituted with something else and used dubbed dialogue has been restored to the original version. No dubbed dialogue and the original tune (whatever it is) is present. Running time: 24:00. That seems a bit short, but I did compare it to the original broadcast version and that is the correct running time. 

 

Johnny Comes Back: No music edits. Running time: 24:56. There is an original bumper just before the tag scene. 

I forgot to mention that the picture quality for this episode is not as pristine as previous episodes. The picture has a bit of a soft quality to it and it seems to be slightly faded. So, it could use some color correction or restoration. It's not terrible. It's just not as crisp as the other episodes. Since this is the original full length broadcast version, I'm not going to complain. More than likely, this is the best version and only copy that exists. 

 

Never Leave Me Lucille: No music edits. Les singing Heartbreak Hotel is there. Running time: 24:55. 

 

I Want To Keep My Baby: No music edits. In fact, The Kinks (which were not on the list from Shout) song Rock 'N' Roll Fantasy is there. Running time: 24:45.

 

A Commercial Break: No music edits. Herb reciting the lyrics to Sing by the Carpenters is there. Also Johnny's quick refrain of So Long is there. Running time: 24:45. There is a generic bumper just before the tag scene. 

 

Who Is Gordon Sims?: No music edits. Running time: 24:55. There is a generic bumper just before the tag scene. 

 

I Do, I Do...For Now: No music edits. As stated earlier, Jennifer's Doorbell (Fly Me To The Moon) is present and so are the two songs by Hoyt Axton. Running time: 24:49. 

 

Young Master Carlson: No music edits. The theme from Patton is present. Running time: 24:56. There is a generic bumper just before the tag scene. 

 

All four of the previous episodes appear to be 100% original broadcast versions.

 

Fish Story: No music edits. The scene of a drunk Venus singing is there (it was edited from on the Fox set). Running time: 23:58. There is a generic bumper just before the tag scene. 

 

Preacher: As anticipated The Beatles song I'm Down has been replaced. A generic rock song is used. There is no dialogue over the song so the substitution is smooth with no edits. All of the other original music is present. Running time: 24:29. There is a generic bumper used just before the tag scene. 

 

Season 2

 

For Love Or Money, part 1: Sadly there are two music edits in this episode. Robert Palmer's Bad Case Of Loving You and Herb Alpert's Rise are gone. Each song is substituted with generic music. The substitute for Robert Palmer is a generic rock song. There are two quick lines of dialogue over the song. Bailey is in the booth and says, 'Uh...Johnny' and Johnny pops out from under the console and says 'Yeah.' The sound drops a bit during these lines of dialogue. It sounds like the lines have been redubbed using voice actors. Once Johnny turns the sound down so the song is gone, everything is fine. 

 

The Herb Alpert song missing is a bit more troublesome. In the original version we see the establishing shot of Jennifer's apartment building and Venus's voice is heard talking over Rise by Herb Alpert. He even says Venus is on the rise. In the new set the song is missing and the voice we here is not Tim Reid's voice. This is very obvious. The lines of dialogue have also been changed. No longer is 'Venus on the rise.' That's just part of what makes this troublesome. Rise is also used in the season 3 episode Hotel Oceanview. I checked Hotel Oceanview and the song is there. So, I'm confused. If the song was licensed, why wasn't both instances cleared? Were both instances cleared and this is just a mistake? I can't say. The very, very bad voice over bothers me alot. However, in the episode Hotel Oceanview there is a lot more dialogue over the song, so Shout may have had to choose the lesser of two evils here. I don't know. This just seems strange that the song could be used in one episode but not the other. 

 

Now Earth, Wind and Fire's After The Love Is Gone is here. However, during the very end of the episode when Bailey is in the hall outside the booth, there is some sound dropouts. The song tends to come and go. This could be an issue with the original master tape. The 'next week on WKRP' is there just before the end credits. Running time: 24:54.

 

For Love Or Money, part 2: No music edits. The recap of part one is there just before the opening credits. Running time: 24:53.

 

Baseball: No music edits due to there being no music in the episode. Running time: 25:00. 

 

I meant to mention that the scene where Johnny sniffs the white powder on the ground is there. Someone mentioned that this moment has been edited out from later broadcasts. Well, it is there but oddly enough there is no canned laughter for this joke. 

 

Bad Risk: No music edits. The Knack, Little River Band and The Rolling Stones are all present and accounted for. Running time: 25:00. There is a generic bumper just before the tag scene. 

 

Jennifer Falls In Love: No music edits. The three uses of Jennifer's Doorbell (Fly Me To The Moon) is present. Running time: 24:57. The usual bumper is there just before the tag scene. 

 

Carlson For President: No music edits. The Star Wars Theme is there as is the bit of music just before the Carlson Campaign Announcement. Running time: 24:58. The bumper before the tag scene is there. 

 

Mike Fright: As was reported earlier, Sports and Chuck Berry are gone. There is dialogue just after the Sports song and that has been edited out. Johnny back announces the song and artist also the lines 'For those of you who do here are the morning's headlines." There is also a small amount of redubbed dialogue. Just before the Chuck Berry song in the original version Johnny says "...just say" and the song starts. In the dubbed version he says "...just say yeah." Yes, it is noticeable but not as intrusive as the Venus overdub from For Love Or Money. All of the other music (Martha and the Vandellas, Sly and the Family Stone, Bob Dylan, and Waylon Jennings) are all present. The blues music heard in the bar scene is the original. Andy and Venus (and later just Venus) singing Gonna Fly Now (Theme from Rocky) is also there. Running time: 24:45.  

 

Patter Of Little Feat: There are two music edits in this episode. As I reported before, Maurice Chevalier is gone and just before Maurice comes on in the original The O'Jays Sing A Happy Song was heard. The O'Jays are also gone. So, instead of Maurice Chevalier we get a generic vocal version of We've Only Just Begun (I mistakenly said this was (They Long To Be) Close To You in my original post. Sorry about that.). The dialogue in the final scene is exactly the same as the original version but it has been overdubbed by voice actors. The Carlson sound alike is very close. At first I thought it was Gordon Jump, but when I listened more closely, I could tell it wasn't him. The voice actress doing Carmen Carlson's voice is not even close. It is very noticeable. Still by the Commodores is present. Running Time: 24:57.

 

Baby, If You've Ever Wondered: The only music edit is the loss of Michael Jackson's Don't Stop 'Til You Get Enough from the party during the tag scene. The original voices are still present. The music has been substituted with some generic disco sounding song I don't recognize. Running time: 24:35. The bumper before the tag scene is there. 

 

Bailey's Big Break: No music edits. Running time: 24:58. 

 

Jennifer's Home For Christmas: No music edits. All five instances of Jennifer's Doorbell (Fly Me To The Moon) is there. Running time: 24:55. 

 

Just a couple of observations about this episode. If Johnny Fever hates disco so much, why during the party is he holding the Ethel Merman Disco Album? Then at Jennifer's apartment, why is Jennifer dressed as Shirley Partridge? Just a couple of odd things that I noticed. Yes, the goose joke is there. So is the down home Christmas joke. 

 

Sparky: One music edit in this episode. Bob Marley and the Wailers song Survival is gone and generic Reggae music is heard. The song was just before Sparky Anderson's first interview show. Sadly, when Venus signs off, he mentions both the song title and the artist so his dialogue has been redubbed with the same really bad voice actor. Yes, it is noticeable. There are no other music edits. Running time: 24:25. The bumper before the tag scene is there.

 

God Talks To Johnny: No music edits. Running time: 24:55. The bumper before the tag scene is there. 

 

A Family Affair: There is only one small music edit. The Jimi Hendrix Experience's Foxy Lady is gone. With the loss of the song we lose about 10 seconds of dialogue. Johnny mentions Hendrix so that is why there is an edit. This edit is handled very, very well and it is confined to just the few seconds that contained the song. Johnny says 'Chemicals, a natural part of life' just before the edit. A total of three lines are cut. Running time: 24:00. 

 

Herb's Dad: No music edits. Running time: 24:46. 

 

Put Up Or Shut Up: One music edit. Herb singing Our Day Will Come has been removed. No dialogue has been affected. Jennifer's Doorbell (Fly Me To The Moon) is intact. Running time: 24:43. The bumper before the tag scene is there.

 

The Americanization Of Ivan: No music edits. All of the references to Elton John's Tiny Dancer (and the song itself) are present. Running time: 24:55. 

 

Les's Groupie: No Music edits. Johnny Mathis Chances Are is there as well as Les singing Chances Are. Running time: 24:55. 

 

In Concert: There is a very, very small edit in the opening. The opening shot of what looks like the empty booth is not there. Instead the scene opens with Johnny flying to the microphone just as the song ends. I guess they could only use a small portion of The Pretenders song The Wait. There are just about 3 or 4 seconds edited. Also, The Rolling Stones Sympathy For The Devil has been replaced but the original dialogue over the song has been salvaged. No overdubbing. Bill Evans Remembering The Rain is there. Running time: 24:55. 

 

The Doctor's Daughter: Well, the Eagles The Long Run is missing, It has been substituted by a generic song that kind of has the same feel and beat to match Johnny head bobbing movements. Andy's voice is redubbed as is Laurie's voice over while Johnny read her letter. In fact, Laurie's overdubbed voice begins at the beginning of the scene where Bill Haley and The Comets Rock Around The Clock is heard. Bill Haley is there. Running time: 24:35. The bumper before the tag scene is there. 

 

I'm kind of surprised that the Eagles are gone, but not too surprised. Someone here said that the recent lawsuit with Don Felder is the reason for the song not being there. Oh well. I don't like it, but there isn't much I can do about it. 

 

Filthy Pictures: No music edits. Bonnie Raitt is there. This is the original hour long version and not the two part version that has been aired for years. Running time: 48:53. There is a bumper in the middle of the episode as it originally aired. 

 

Venus Rising: No music edits. Running time: 25:00. The bumper before the tag scene is there. 

 

Most Improved Station: There is a tiny music edit (believe me this is quite petty if you ask me). The next morning after the awards, when Johnny takes off his headphones, the original music heard has been replaced. Now, I tried and tried to identify the song and I had no luck at all. You really can't make out just what it is. Johnny's line about the tux not going back until six is still there and it has not been overdubbed. However, the music is now much louder and it just about covers up the line about the tux. To me, removing this very tiny, practically unclear bit of music is really nitpicking. It really brings this whole music licensing issue to light. To have to remove something that no one can even understand is going too far. I mean really. Without looking at what ever paperwork exists showing what songs were used where, could anyone even figure out what the song really is? I seriously doubt it. Running time: 24:57.

 

Season 3

 

The Airplane Show: There are four music edits. Devo's Whip It has been replaced but the original dialogue has been kept with no overdubbing. The same for Deep Purple's Space Truckin' since there was some dialogue over this song. The Cars Gimme Some Slack has been removed. Nothing was affected by its removal. The very brief snipit of Debbie Boone's You Light Up My Life is gone as well. She is still mentioned during the long roster of other stations announcing their call letters but the actual part of the song is gone. Since the song was at a low volume, it may have been dubbed over with another radio station call letters, but I didn't match each and every bit of this montage with the original version. Sorry folks. I just listened for the song. Everything else sounded correct but it all goes by so quickly that it would take just too much time to pick that minute of the episode apart. Running time: 24:13. The bumper before the tag scene is there.

 

Jennifer Moves: There are no music edits as there is no music in this episode. Running time: 24:53. The bumper before the tag scene is there. 

 

Real Families: There are some music edits as well as a couple of other edits to this episode. First Johny Olson's voice as the announcer of the Real Families show has been replaced. Also the theme music for the Real Families show has been changed. This was probably done at the same time that Olson's voice was replaced. The Talking Heads song Once In A Lifetime is gone. The dialogue over the song has been kept with no overdubbing. Ok, the Rolling Stones song She's So Cold has been replaced by Jackson Browne's That Girl Could Sing. The original dialogue has been kept. No overdubbing. Running time: 24:50. The bumper before the tag scene is there. 

 

The Baby: There is one music edit. The Pointer Sisters song Could I Be Dreaming is gone and has been replaced with something I don't recognize. There was no dialogue so nothing is affected with the replacement of the song. The mellow jazz music that Venus is playing at the beginning of this episode is there and it is the original piece. Johnny singing Peggy Sue is there as well. Running time: 23:50. The bumper before the tag scene is there. 

 

Hotel Oceanview: No music edits. Running time: 24:14. The bumper before the tag scene is there. 

 

A Mile In My Shoes: The Rolling Stones song Get Of Of My Cloud has been replaced with a generic song. The original dialogue over this song has been kept with no overdubbing. Running time: 24:58. 

 

Bah, Humbug: No music edits. Running time: 24:03. 

 

Baby, It's Cold Inside: No music edits. Mrs. Carlson singing Someone To Watch Over Me is there. Running time: 24:55.

 

The Painting: No music edits. Running time: 24:55. 

 

Daydreams: No music edits. All of the music (instrumental or vocal) used in the dreams are present. Running time: 24:55. 

 

Frog Story: There is one music edit. Randy Nedwman's song Gone Dead Train has been replaced with a sound alike version of the same song. The Kinks (song You Really Got Me) were not on Shout's list and they are present. Running time: 24:55. The bumper before the tag scene is there. 

 

Venus & The Man: One music edit. Candi Staton’s song Looking For Love has been removed and a generic song has been substituted. Venus’s dialogue has been altered to say Andi Taton instead of Candi Staton. No other music has been changed. Running time: 24:54. The bumper before the tag scene is there.

 

Dr. Fever & Mr. Tide: There are two music edits. First, once again The Rolling Stones song Sympathy For The Devil is gone. It has been substituted with some generic rock song with the same basic beat and tempo. There is no dialogue over the song so nothing is edited out of the scene. However, Andy does a bit of singing along with the song in a soft voice (almost a whisper) so the volume of the replacement song is loud enough to cover this up. The second music edit is the loss of Chic's Le Freak. It has been replaced with some generic disco song. No dialogue, just dancing so nothing is edited out of the scene. The kids dances moves really don't fit with the replacement song, but that's minor. This episode is presented in its original hour long version. Running time: 47:34. The bumper just before the tag scene is there. 

 

Ask Jennifer: No music edits due to there being no music in the episode. Running time: 24:55. 

 

I Am Woman: No music edits. The Gershwin song Lady Be Good that is played on the piano in the bar scene is intact. Running time: 24:58. 

 

Secrets Of Dayton Heights: One music edit. The song on the radio in the barber shop has been replaced with generic big band music. The original song was I've Found A New Baby by Benny Goodman. Running time: 25:00. The bumper before the tag scene is there. 

 

Out To Lunch: There are three music edits. The Bee Gees Jive Talkin' has been replaced by a song that sort of sounds like Jive Talkin' in that all you can really make out is the lyric 'talkin', talkin'. The original dialogue in this scene is there and has not been overdubbed. As expected, The Beatles Here Comes The Sun is also gone. It has been replaced by some generic piano music that seems to be more appropriate to a restaurant setting (which is where the scene takes place). The original dialogue is intact with no overdubbing. The U2 song I Will Follow is gone. All of the original dialogue in the scene has been preserved. All of the other music in the episode is intact as originally broadcast. Running time: 24:56. The bumper before the tag scene is there. 

 

A Simple Little Wedding: No music edits. Running time: 24:36. The bumper before the tag scene is there. 

 

Nothing To Fear But...: No music edits. Running time: 24:54. 

 

'Till Debt Do Us Part: There is one music edit. Dave Mason's We Just Disagree is gone from the tag scene. It was not replaced with anything. The original dialogue is there with no overdubbing. Running time: 24:53. A silent bumper just before the tag scene is there. 

 

Clean Up Radio Everywhere: No music edits. I am also very happy to report that Dr. Bob Hayler reciting the lyrics to John Lennon's Imagine is there and has not been tampered with. I don't know what this cost Shout, but I'm betting it didn't come cheap. Kudos to them for being able to keep this episode 100% intact. The loss of the recitation of Imagine would have ruined the entire episode. Bravo! Mr. Carlson’s handheld video baseball game sounds no longer play ‘Take Me Out To The Ball Game.’ Instead it just makes generic computer game noises like those old Matel games from the late 70s. Running time: 24:55.

 

Season 4

 

An Explosive Affair, part 1: No music edits. Running time 24:05. The bumper before the tag scene is there. 

 

An Explosive Affair, part 2: There are a couple of edits to this episode. First the voice over for the recap scenes is gone. The second edit is a music edits. Kool & The Gang's Celebration have been removed. No music has been substituted and all of the original dialogue has been preserved. Running time: 24:05. The bumper before the tag scene is there. 

 

The Union: There is one music edit. The Rolling Stones song Start Me Up has been replaced with a generic rock song. Johnny's intro to the song has been redubbed. This is not too bad. He just identifies the artist and song as the song starts. Running time: 23:45. The bumper before the tag scene is there. 

 

Rumors: No music edits. Running time: 24:05. 

 

Straight From The Heart: No music edits. Running time: 24:04. 

 

Who's On First: No music edits. Running time: 24:05. The bumper before the tag scene is there. 

 

Three Days Of The Condo: No music edits. Running time: 24:05. The bumper before the tag scene is there. 

 

Jennifer And The Will: No music edits. Running time: 24:04. 

 

The Consultant: No music edits. Running time: 24:04. 

 

Love, Exciting And New: No music edits due to there being no music in the episode. Running time: 23:44. The bumper before the tag scene is there. This episode looks like it runs short but I did compare running times with the original and this is correct. 

 

You Can't Go Out Of Town Again: There is one music edit. The Rolling Stones song (I Can't Get No) Satisfaction has been replaced with a generic rock song. There is no dialogue so nothing has been edited or overdubbed.

 

Pills: There is one music edit. Barry Manilow's song The Old Songs has been replaced. Also, two lines of dialogue have been redubbed. They are the same lines as spoken in the original but they are those voice actors. Bailey's line, 'It's only for a week.' and Johnny's line, 'Well I guess I can take if for that long', are the lines that have been redubbed. Other than that, there are no other music edits. Running time: 24:04. The bumper before the tag scene is there.

 

Changes: No music edits. Running time: 24:55.

 

Jennifer And Johnny's Charity: The Beatles song Come Together is there but is is not performed by The Beatles. It is performed by a sound alike band. As such, Johnny's line, 'Here comes John Lennon. He's a rock monster.' has been changed, redubbed and slightly edited. The edit is very, very small. The John Lennon line is completely gone and instead of 'He's a rock monster' the line now is 'Here's a rock monster'. There are no other edits, music or otherwise. Running time: 24:53.

 

I'll Take Romance: No music edits. Running time: 24:55. The bumper before the tag scene is there.

 

Circumstantial Evidence: There is one music edit. Kool & The Gang's Take My Heart has been replaced with a generic instrumental jazz song. However, Tom Scott's We Belong Together is there. Since Venus mentions James 'J.T.' Taylor and Kool & The Gang all of his dialogue has been changed. However, it is not that really bad voice actor. What they did was lift an original Venus voice over from another episode where he doesn't mention either artist or song and use it here. If I recall, the dialogue used is from the episode For Love Or Money. It was the voice over that was supposed to be over the Herb Alpert song that was replaced with that bad voice actor. It's an interesting solution. None of the replacement songs affect the original dialogue. Everything is still there that was there originally. Running time: 24:57. The bumper before the tag scene is there.

 

Fire: No music edits. Running time: 24:44.

 

Dear Liar: No music edits. Running time: 24:55.

 

The Creation Of Venus: There is one music edit. Van Morrison's song Wavelength has been replaced with a generic song. None of the dialogue is affected by the replacement. There are no other music edits. Running time: 24:55.

 

The Impossible Dream: No music edits. Running time: 24:25.

 

To Err Is Human: No music edits. Running time: 24:57. The bumper before the tag scene is there.

 

Up And Down The Dial: No music edits. Running time: 24:55. The bumper before the tag scene is there.


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#4142001 Weekly RoundUp 9-16-2014

Posted by Mike Frezon on September 13 2014 - 03:12 PM

Gang:

 

Hopefully, this will be the last Round-Up composed from a hospital room for a verrrrrrrrrrrry long time.

 

I just had a follow-up procedure to tie up some loose ends from that big medical scare I had back in January & February. 

 

All has gone well and it even looks like I'll be getting home a day ahead of schedule.  I will again be home for the next several weeks of recuperation and look forward to hanging with y'all on the HTF!


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#4122224 Dear Disney, it's over

Posted by MatthewA on July 30 2014 - 03:50 PM

Dear Disney,

 

Lately our relationship hasn't been what it used to be, and it's not me, it's you. Okay, maybe it is me a little. I have changed. I've grown older, wiser, more mature since the good old days when Ashman and Menken could do no wrong, Cartoon All-Stars to the Rescue notwithstanding. Those days are long gone. You claim the record stock price and the popularity of Frozen means you're doing better than ever, but for all the money I have given to this company in order to provide me with entertainment, lately I feel like I have been getting less and less for it. As a matter of fact, I had to sleep in my car to be able to afford my last trip to Disneyland. You keep raising the prices, but what are people getting for their money? What are cast members at the park getting for it?

 

Why are you still making 3D movies if you don't want to release them on Blu-ray in 3D in Region A, but you will make them available for streaming that way? I pay $51 a month for my Internet service with AT&T and I still can never get 2D movies to load in full resolution. Streaming is not as good as physical media and it never will be. It certainly isn't in its current form. If only you would allow more than a small number of your own films and TV shows to appear on Netflix. I didn't even like that ill-conceived revisionist mess called Maleficent, but the fact that it was in 3D in theaters but is not getting a 3D Blu-ray bothers me. Unlike Planes, which does warrant an American 3D Blu-ray release, Frozen, that Oscar-winning box office record-breaker everyone's been talking about, couldn't even rate one either! Actually, it did: in the UK. I upgraded to 3D just so I could watch it. And it looks quite nice. As does the lovely Blu-ray of 101 Dalmatians that still hasn't come out yet in the US. Hopefully when it does, it won't be anything like the same smudgy messes you turned The Sword in the Stone and The Jungle Book into, especially the former. Until you can figure out how to remove cel dust without removing pencil marks, don't bother calling these "restorations." They're not. They're grotesque alterations that barely resemble the originals. And you dropped extras from so many titles I can't even remember them all (except for Pete's Dragon. I never forget a slight against that film, either). But I do remember the promises you failed to keep, like those Blu-rays of Pollyanna and the Absent-Minded Professor films. We were promised those in 2013, and it is now the second half of 2014 and they are still only available in HD via streaming. It's like you're doing everything you can to discourage people from buying physical media. I would gladly do so if you gave me any incentive, but these are disincentives.

 

Your latest transgression against Bedknobs and Broomsticks on Blu-ray was the straw that broke the camel's back. The dubbing aside, the 1996 restoration was a mitzvah, and for you to go back to the studio-imposed cuts was a horrific betrayal. The fact that you already did that to The Muppet Christmas Carol and Pocahontas was one thing, and there is no reason both versions of those films could not be included via seamless branching. They would have been perfect replacements for their respective DVDs. But to do this to Bedknobs and Broomsticks while offering a seamless branching option on Muppets Most Wanted, which you are releasing the exact same day, is at best stupid and short-sighted, and at worst a calculated insult to the makers of the film and to anyone who prefers the film the way the Sherman Brothers intended it to be. Even after one of them has died, you manage to screw them over yet again. Don't think for a second that putting most, but not all, of the scenes that a committee of seven cut out just to fulfill an arbitrary running time mandate into a supplementary section with no option to watch the film with them put back in the film where they belong, makes up for that. The fact that you would call this a "special edition" baffles me. The only thing that's special about this edition is the hubris that went into it! I should have realized not to expect much when the press release mentioned Mary Poppins, which itself has also lost extras on the flights between formats, more times than it mentioned the film that's actually on the disc. That's a film whose biggest 50th anniversary present from the studio was a making-of movie that's nothing but a spoonful of half-truths. At the establishing shot of the scene where Walt Disney and Helen Lyndon Goff go to Disneyland, what song do we hear? "Zip-a-Dee-Doo-Dah," the theme song from Song of the South, which made all subsequent live-action/animation hybrids, as well as a major theme park ride and several characters who still roam some of the parks today, possible. So we still can't have that film even though the park is full of reminders of it, and other countries got it on VHS and even laserdisc? A boy beaten up over a lace shirt collar seeks an elderly black sharecropper's advice on how to outwit his bullies? We need that movie now more than ever. If you're so afraid of it, why not test the waters with something like a Disney Family Foundation making-of documentary? There's still plenty of time to change your mind in time for the film's 70th anniversary in 2016.

 

I don't think we should see each other anymore until you clean up your act. And I don't need you to be happy, even though it was because of you that I learned what it takes to be happy. As Julie Budd sang in The Devil and Max Devlin, "instead of waiting for those roses and rainbows, you'd better give them to yourself." And I'll be giving myself plenty of roses and rainbows, and not one red penny to anything of yours. No Disney movies, not even Pixar and its beloved Brain Trust that manages to magically turn almost every single movie into a mismatched buddy comedy. No parks. No ABC. No ESPN. No stage shows. No Marvel Comics. No Muppet anything unless Jim Henson was alive to be involved with it. I've threatened boycotts before, but this time I mean it.

 

If you want me back, you know what you have to do, and it's going to take more than just re-releasing Bedknobs and Broomsticks on Blu-ray in its uncut form and removing the embargo on Song of the South. Start listening to your customers and start taking consumer input seriously. Look at companies such as Criterion and Shout! Factory and start striving to be at least as good as they are. Use your Disney Generations MOD program other than a dumping ground for outdated transfers; adopt the Warner/Sony way instead of the Fox way. Pay your cast members fair wages that take the cost of living into consideration. Be proactive about making catalog titles available on physical media. Most importantly, you used to say, "look to the name Walt Disney for the finest in family entertainment" on every movie poster. You're Disney. You can't do things half-heartedly and expect your consumers not to flock to one of your competitors. You need to earn the right to be able to say that again, and you need to make sure that statement includes all families.

Sincerely,
Matthew A


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#4081516 While we wait for A few words about...™ The Rodgers & Hammerstein Collect...

Posted by verneaux on May 02 2014 - 05:27 AM

They could go with an alternate title for The King and I - Anna and the King of Cyan...


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#4151108 WKRP In Cincinnati: The Complete Series Review (See Posts #218 & 356 for...

Posted by Brian Himes on October 04 2014 - 12:48 PM

Ok, I got my set and I did a quick spot check of a few things that I felt were the most important.

 

First, I checked Turkey's Away for Pink Floyd. Nope, they are not there. However, the music that is used does have barking dogs and it does sort of sound like Pink Floyd. So the dogs joke is there but Mr. Carlson asking for the name of the orchestra line and Johnny's response (naming Pink Floyd) and the next two lines has been edited. It picks up where Carlson mentions Pigs on the Wing. Without Pink Floyd, this is the best that could be accomplished with the scene. The scene is still funny, and all of the jokes are still there and not ruined. In my opinion Shout did an excellent job preserving 99% of the scene. Loads better than the old Fox DVD set.

 

Next I checked the run times for Hoodlum Rock and A Date With Jennifer. Both episodes clock in at over 24 minutes (closer to 25) so these appear to be the original broadcast length. The previous set used syndicated versions that were only 22 minutes.

 

Then it was off to the episode I Do, I Do...For Now and I can confirm that Jennifer's Doorbell is Fly Me To The Moon. Yippee!

 

I spot checked the Pilot and Pilot, Part Two. Ted Nugent is present and accounted for in part one and Bob Segar is present and accounted for in part two.

 

I spot checked the episode Bailey's Show and A Taste Of Honey's Boogie, Oogie, Oogie is there.

 

And finally, someone here was concerned about the episode Jennifer's Home For Christmas. Good news there. Brenda Lee, Jingle Dogs and Chuck Berry are all present and accounted for. The moment of Venus starting to sing White Christmas is there.

 

Ok, I'm off to start fully checking each episode individually but so far things look pretty good. I'll be reporting on run times and of course all music and any edits that may occur due to missing music.


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#4105342 A few words about...™ Kismet -- in Blu-ray

Posted by Virgoan on June 26 2014 - 07:34 AM

I am going to make a confession here I have rarely revealed to anyone:

 

In 1961, I was in the second half of 7th grade and my parents relocated us to a new neighborhood requiring me to go to a new school.  In 8th grade, I was in homeroom with a guy I had met and made friends with during gym class in the seventh.  One morning before home room started, we were chatting about movies we saw on TV that weekend and, well...one thing led to another...and by the end of morning class, I owned 20th Century-Fox, Walt Disney, Warner Brothers, RKO, and Desilu.  He owned MGM, Columbia, United Artists, Paramount and a few others, as well.  From then on, we both researched the film product of all the studios and became extremely well-versed in output in the 20s, 30s, 40s, 50s and 60s.  At that time, MGM and Fox were both struggling with the productions of, respectively, "Mutiny on the Bounty" and "Cleopatra".  That left us to paying less attention to the 60s and the products of the past.

 

Oddly, weirdly and happily, we were both attuned to the music in the films and we were both very busy researching music credits, etc.  That led to obtaining soundtrack albums.  We were both very immersed in the careers and recordings of Alfred Newman and Miklos Rozsa. 

 

This association led to 35 years of very close friendship and sharing until my friend's untimely death in August 1992 from a heart attack.  I spent most of those years in the U.S. Navy while my friend, Jim Whaley, spent those years traveling the world and interviewing people in films for his syndicated PBS show "Cinema Showcase".  Our letters to one another, especially when I was assigned overseas, were voluminous.  Our telephone calls were, at that time, epic (and costly).  Neither of us minded.

 

When Rhino began its historic issuing of titles from the MGM vaults, featuring all the music underscore and songs from MGM musicals, I grieved for Jim not being here to enjoy it all.  When Film Score Monthly began its unprecedented issuing of 250 titles fromt he vaults of Fox, MGM and others, I could not listen to anything without hoping Jim was listening, too.  When FSM celebrated its 100th release with a 3-CD "Mutiny on the Bounty" by Bronislau Kaper, I started a thread at the FSM Messageboard seeking closure with my friend's parting and citing all the bounties that had been bestowed upon us up to that point which Jim would have relished enormously.

 

If I seem maudlin, I apologize.  I have moved on, with only an occasional wistfulness for Jim's having missed all the wonders we've seen the past 20 years.  I have found another friend who shares many of these same interests and we are in touch weekly, but I wanted to share some of these thoughts and past memories with those of you who have the same sort of love for old films, and all the elements therein, that I have.


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#4102127 Kino Lorber Studio Classics - First Time on Blu-ray

Posted by Twilight Time on June 19 2014 - 12:09 PM

Collectors should be happy with the news that Criterion, Twilight Time, Shout! Factory, and Kino Lorber have between them licensed a considerable quantity of classic films from the vaults of MGM/UA. We're sure that each of the companies have titles that the others would like and vice versa - that's just the name of the game, and the luck of the draw.

 

Speaking only for Twilight Time (who have close to 100 films from the MGM/UA catalogue), we are very happy with what we have and hope the aficionados will be too as these classics become available in the coming months and years. 


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#4101027 Someone at Fox - please evaluate

Posted by Eastmancolor on June 17 2014 - 10:17 AM

Regarding the color quality in Doug Bull's screen shots, it has been my experience that most IB Tech prints in the 3-strip era, which is from 1933 to 1953 or so, tend to favor the warmer yellowish side of the color spectrum.  Back when I worked at the Library of Congress, I pulled out the original nitrate copyright prints of ON THE TOWN, COVER GIRL and IN THE GOOD OLD SUMMERTIME and was quite surprised at how yellowish-brown they were.  The other colors were also a bit more subdued than you'd expect, leaning towards pastel.  Occasionally you would get a bright color here and there, but nothing was as over the top color-wise as you would expect.

 

This is especially true of 1930's Technicolor.  I did some work on the Shirley Temple film THE LITTLE PRINCESS around 25 years ago for a previous employer.  We were using an original release 35mm nitrate Technicolor print.  The entire film had muted color and it leaned towards that yellow/sepia look.  Original era prints of GONE WITH THE WIND and THE ADVENTURES OF TOM SAWYER were similar.

 

Things seemed to change when 3-strip photography went away and Eastman Color negative took over in the mid-1950's.  IB Technicolor prints were made from the Eastman negatives and it was during this period that the lab really poured on the color.  Skin tones became more natural and just about every primary color was cranked up.  Films such as TO CATCH A THIEF, VERTIGO, THIS ISLAND EARTH, MY FAIR LADY, CABARET and others were quite stunning. 

 

Also from the mid-1950's on, older 3-strip titles would occasionally be reissued in new Technicolor prints that looked nothing like their original releases.  GONE WITH THE WIND is an example of this.  The 1950's prints were much more punched up and saturated than the 1939 original release prints were.

 

But back to this issue of Blu-rays not looking like original era release prints.  Since a film like THE ADVENTURES OF ROBIN HOOD would look different every time it was reissued on film over the decades (and different in every home video release as well) it's no surprise that making judgements on what is a correct looking Blu-ray release is problematic.  One camp wants the film to simply look as good as it can possibly look using all of the latest technology, others want the film to look like it did in the theaters originally.  Unfortunately knowing how something looked originally can be a mine field.  Eastman prints of any age are worthless as a reference because they've faded.  Technicolor prints vary all over the map, even during the same release, but totally look different from decade to decade.  

 

Case in point.  The Criterion Blu-rays of THE RED SHOES and BLACK NARCISSUS are quite beautiful.  They don't look anything like the Technicolor prints though.  A friend of mine has a 35mm British IB Technicolor print of THE RED SHOES and I own a 16mm British Tech print.  With this title, there is some of that yellowish/brown look, as well as brightly saturated primaries.  The blacks are like ink and the Tech prints make it look like you're watching an animated oil painting.  The best Eastman prints and the Criterion Blu-ray, don't compare.  Similarly with BLACK NARCISSUS, I watched a nitrate 35mm IB Technicolor print a few years ago and a 16mm British Technicolor print a few weeks back.  Unlike the Blu-ray which is swathed in bright colors, the prints were very, VERY subdued.  Colors were pastel, only getting bolder during the final scenes.  In order to make the Blu-ray look anything like the Technicolor prints, I had to turn the color on my Epson projector down to approximately -25, contrast to +10 and the sharpness to 0.  Even then, the sharpness level was too pronounced.

 

So I guess the whole point of this is that mastering a film for Blu-ray is never going to please everyone.  It's just about impossible to make something digital look exactly like a film print of yore.  Even for those who have seen many old prints over the years, memories do shift over time, so being "certain" about how a film looked back when, is about as uncertain a thing as there could be.  Even when you have an IB Technicolor print as a reference, you have to wonder just how representative of the original release that print is.  No two Tech prints are exactly alike even in the same release.  What if it's from a reissue?  The best that restorers can try to do is make common sense judgements and forge ahead and try to make the new digital release look as good as it possibly can. 

 

Unfortunately a bad decision slips through from time to time.  But more often than not, I'm amazed with just how good DVD's and Blu-rays of classic titles have looked over the years.  When I see Blu-rays of the quality of TO CATCH A THIEF, or go to the 4K digital screening of LAWRENCE OF ARABIA at the Academy of Motion Pictures, the presentations are probably better than what audiences saw back when the films initially premiered.  Heresy I know, how could anything digital possibly be better than film?  Well I work with film professionally every day, I've collected it for 40 of my 49 years, it's the best preservation medium we have and a properly projected film can be a life altering experience.  All that said, digital can be every bit as impressive, sometimes, dare I say it, more!

 

Now can we "all just get along."


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#4117155 Aspect Ratio Documentation

Posted by Ronald Epstein on July 21 2014 - 08:28 AM

ATTENTION

 

I would like to apologize that it has taken me far too long to step in this thread and correct some problems most of you have noticed for quite some time.

 

We feel very fortunate to have Bob Furmanek on our forum.   We consider him to be an expert within his field.  I have met Robert on many occasions, he has been to our HTF meet where he has met many of you, and all of us consider him not only a friend, but a very reputable individual.   

 

I recently found out that someone has been continually challenging Mr. Furmanek -- not just here, but on another forum as well.  It seems that wherever Mr. Furmanek attempts to share information and answer questions, there is someone intent on challenging his authority at every turn.

 

When it becomes painfully apparent that there's an individual with such a strong agenda that he needs to stalk Mr. Furmanek across sites, it's time for something to be done.

 

First, we have suspended the member for two weeks.  This gets the message out that this kind of behavior will not be tolerated on HTF.

 

Secondly, thanks to the stalking member should be given.  He enticed us to re-implement an old feature on HTF where we can now ban such members from threads altogether.  That means when the member returns, he will not be able to read or participate in this thread any longer.

 

I apologize again for taking so long to react.  The Moderators had been on top of this for quite some time.  Warnings were given.  Apparently, I wrote a personal letter of warning to the individual some time back. Things just got to the point where something needed to be done.

 

I am certain we can move forward in discussions within this topic without someone making it an uneasy read for everyone.

 

Thanks for being here with us, Mr. Furmanek.   We value your friendship and participation.


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#4075052 Is the b&w era of TV on DVD slowly coming to an end?

Posted by Gary OS on April 15 2014 - 06:52 AM

After taking several days to think about it, and read the comments left by others here, I've decided it would be wrong to let one bad apple chase me away.  I really do love B & W TV shows and enjoy discussing them with my friends here.  I especially want to thank those of you who took time to write some words of encouragement.  Folks like Jeff, Brad, Glen, Steve, Regulus, Mark, David, Leo, John, Ron, Rob, Chris, Jack P (who took one on the chin while defending me) and all the others who clicked "like" on a supportive post.  It is greatly appreciated.

 

 

Gary "now back to your regularly scheduled program" O.  :)


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#4128842 Your new BD titles requests from Twilight Time

Posted by Twilight Time on August 15 2014 - 08:40 AM

My most wanted title is "Breaking Away."  The film is kind of forgotten, but it was a critical and financial success in 1979.  Several of the young actors went on to successful careers.  If you have never seen the film, I suggest you make an effort to view it. It is shown on television frequently and there is an OK DVD available.  There aren't many more kind and gentle films about growing up out there.  One of my all time favorite films.  Please SOMEBODY release it on Blu.

You'll be a happy man early next year.


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#4121914 A few words about...™ Warner Bros. Home Video & The WB Archive Collection...

Posted by atfree on July 30 2014 - 05:06 AM

Many of us have moved on to digital downloads (digital HD as the studios have begun to market it) We still collect but digitally. In fact Electronic Sell Thru is one of the only growth categories right right now. I wasn't for a hard drive full of digital files till recently, but have warmed up to that as quality has improved. So there is a future for those who collect films.

Holding a hard drive is NOTHING like holding a case, with original artwork, a disc, etc. I have thousands of songs on my iPod and hard drive but they really don't have a tangible feel to them like my BD's...they feel almost, well, disposable. I agree that digital is the wave of the future, but just not for me. As long as physical media is available, it will be my preferred choice. But that's just me......


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#4011343 Criterion Press Release: It's A Mad Mad Mad Mad World (Dual Format)

Posted by Moe Dickstein on October 16 2013 - 09:21 PM

well this release sounds good but there are MAJOR flaws...
 
   the dropped doc from the MGM disc
 
   the fact you did not use seamless branching, that way each version was on 1 disc (and still could use high bit rates)
 
   the fact you crammed each of the 2 blu-rays with extras (where movie already is
 
this release should only be 2 discs - both only blu-ray / no dvd's included
   disc 1 both versions of film ia seamless branching with commentary  -  disc 2 having all the bonus features
 
back to the drawing board criterion


Actually no. Here's why you're wrong:

The differences between the two versions are EXTENSIVE. It's not a matter of dropping in scenes, but sometimes just a few frames. Trying to branch something like this would lead to an unwatchable film, so that puts us to 2 discs on Blu.

Now you worry about too much material being on the discs, and you ALSO want the MGM doc? Considering everything that is new, I think it's reasonable to leave off the old documentary that fans would have already on either the Laserdisc, first DVD and first Blu-Ray in favor of NEW material. Criterion doesn't put 480 material on Blu for the reason of keeping HDMI handshakes from jumping resolutions, so you can't make the argument that it's only a small file, it would be upscaled to 1080 for this release if included.

Blu can easily handle over 4 hours on a disc in HD, so the first disc with the shorter film has plenty of room for the bulk of the extras with some likely rounding out space on Blu disc 2. Note the DVD configuration is as you would like - a single disc for each film version and then a third DVD with extras.

Criterion releases ALL new titles as of Nov '13 with dual format which is a great thing. Not everyone has Blu at every tv, so now you have a DVD for other places, or if you haven't yet upgraded to Blu you have it when you do. The price for 5 discs is the same as you would pay for 2 Blu discs only so why on earth would you mind getting a DVD copy for free?

I think you might want to go back to the drawing board if you want to post here more regularly.
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#4082514 Aspect Ratio Documentation

Posted by Bob Furmanek on May 04 2014 - 05:15 PM

I'm pleased to announce that my new article, THE FIRST YEAR OF WIDESCREEN PRODUCTION, is now on our website. It covers every feature - and most of the live action shorts - that were composed for widescreen in 1953. Hopefully, it will help to dispel many of the myths associated with this era.

 

http://www.3dfilmarc...r-of-widescreen

 

The article took nearly a year to put together with a great deal of research and fact-checking in order to insure accuracy. I hope that you enjoy it.

 

Please share the article so that more people will understand this turbulent period of transition within the industry.

 

Thank you very much!


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#4073666 While we wait for A few words about...™ The Rodgers & Hammerstein Collect...

Posted by Robert Harris on April 10 2014 - 11:17 PM

I felt privileged this evening to attend the premiere of Fox's restoration of Oklahoma!, as supervised by Fox's Schawn Belston, at the Chinese, as the opening program of the TCM Festival.

I've been aware that Oklahoma! was a huge archival challenge since I viewed a new 70mm print c. 1982. It wasn't pretty.

Using every digital tool available to him, Mr. Belston has brought the film back from the brink of large format extinction.

This evening's 4k high bit rate exhibition was an extraordinary treat for the eyes and ears.

I know of what I speak, and Fox's determination to achieve a restoration that could take viewers back to 1955, has been met -- in spades.

Once down-rezzed, as a major part of the R & H Collection...

I'll cut to the chase. Oklahoma! alone will be worth the price of admission to the forthcoming Blu-ray set.

Everything about this restoration is as spot on as humanly and technologically possible.

In a word. Magnificent!

My archival hat is off to Mr. Belston and his crew.

RAH


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