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If you saw the film in the early ‘70s, it was probably one of those wonderful new Eastman prints, derived from the 35 reduction IP that had one ten minute reel flopped, ie left to right, with the camels going in the wrong direction.

Last I heard, it was on the schedule. Seeing (and hearing) this gorgeous restorative effort, immediately brings to the fore the quality and tenor of the RKO studio style. Shades of Mr. Welles.

All That Money Can Buy is extraordinary. A beautiful reconstruction and restoration from UCLA.

I'm afraid I don't. Presume it might have been something in fixing. Technicolor (London) replaced all of the prints, and credited the charges for the long version matrices that were never used as a consolation.

In 1963, there were a small number of 35mm mag only prints.

https://www.nytimes.com/1971/05/02/archives/look-what-theyve-done-to-lawrence-of-arabia-now.html

No. It was re-cut in January ‘63, and then again c. October ‘70.

The 222 minute matrices were destroyed, and a set of 202s were produced. The OCN had been cut single strand, and was re-cut as such. Then re-cut again in 1970 In the same format. Over 120 runs were on that negative in 1986, when I first wound through it.

Wonderful notes Stephen! One addendum. There was a processing problem at Technicolor, the affect of which was that every 70mm print, and there were about ten of them, began to turn GREEN, literally green, within a few weeks of dispatch from London. This caused innumerable problems and costs...

I was fortunate to see it live with Carl Davis at the podium.

I don’t believe we’re disagreeing on this point. The available image resolution in Aurens is immemse. Take a beautifully rendered Blu-ray, with static available real estate, and place it in a bucket four times the size, and real information is allowed to expand exponentially. Precisely the...

Precisely. When trims or deletions are made, the adjacent frame is cut in half, allowing a couple of perfs for resplicing. When the negative is re-cut again, yet another frame is lost. There are no protection elements, as the masters are re-cut to match the negative. Life would be far easier if...

Frames were lost due to cutting and re-cutting. Today, we could help it digitally, but not in 1988.

Spartacus was heavily cut in re-issue.

The goggles and crypt were gone in Jan ‘63 in the first cut. The 1970 cut, which was made specificaly for television, but ended up in 35mm, was oddly missing more material than its 187 minute length might suggest, as the fireside chat sequence, removed 1/63, was re-instated. The camera...

I don't believe cuts were made to the prints. There weren't many of them anyway. New prints were struck in January of 1963, from the adjusted negatives and tracks, and prints were replaced - all 13 reels - as prints were turning green due to a processing problem.

To translate, the standard for theaters running film, is 14 foot lamberts.

I just read that. It’s dated 1992, and I have no memory of doing it. I presume I must have. As to Mx tracks, I never considered what was thought “missing.” Only what we needed, and could not find. There was one reference, on the old paper files, of Jean Simmons nude scene at the lake...

We did not run DV. A Christie 4k.

As far as Aurens running via 4k DCP, it ran at Lincoln Center several years ago. Last summer I ran it on a 37 foot screen. Looked better than 70mm.

One of the attributes of data that I love is that it doesn’t slap on the floor, get scratches, or covered in dirt. If it can be played back properly, which most people are able to do, within certain parameters. The Eclipse is the way to go. At least this week. I believe it’s being used by...

Spot on. Reality is, that these days we do work with a reference print, sharing the same 25 foot or whatever screen with data. Back in 2012 the Blu-ray played nicely with my home system. The 4k isn’t quite as simple, because of HDR, especially in projection. On an OLED, I was able to tune...

These comments are general in nature, and not directed toward Mr. Boone: The last time I was able to run Lawrence in color, and with an actual image, in my home theater, was probably in 35mm, which was easier to deal with than 70. Ever since then, it has been a form with no color, densities...

Are you not aware, given what I’ve just noted, that perfection, like a fine wine, has multiple attributes and flavors? I suggest that, if you wish to continue this discussion, do your research. View original prints, and let us know what you make of them. Once you’ve digested those colors and...

I have no dander, but you’re not getting it. Every quality print, within certain parameters, is different. Original 35mm prints were different than 70. Lamp houses have different color temps, along with optics, and screens, especially in smoking days. So... What I’m saying, is that within...

Color accuracy and words are not ideal playmates.

See post 290. Close enough for government work, albeit a bit toward blue...

Correct. Apparently, a small number of 4k discs were pressed directly from the 1966 IP. The promotion should have already been announced. Lucky winners receive the centerpiece.

That's occurred quite often. Camels wander. Or you've flopped the disc...

I’m concerned about Mr. Blenheim. Has anyone seen him recently?