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Discussion in 'Blu-ray and UHD' started by Robert Harris, Jul 12, 2013.
yes , its subtle
We're not talking about Superman 3, are we? We're talking about Love Is a Many-Splendored Thing and there is not one iota of what you call teal push to it. Blues are stunningly BLUE - the sky, the sea, the suits, whatever. I have no idea if what you've posted above is accurate or not and it is completely irrelevant to this discussion. But you know what - I don't see teal on the right half of that image, I see turquoise. And in motion the difference IS subtle AND you are making an assumption that the DVD was correct in the first place. If you look at your split screen at exactly :50 you will see that the image you think has the "teal" push has, in fact, a cape and an "S" that is actually RED and not orange. How do you explain THAT?
To answer your question, the colour on the screencaps looks exactly the same as those on my LED TV screen when playing the Blu-ray. I have no idea if the colours exactly match those of the original prints but the disc looks fine to me. Comparing the Blu-ray to the Fox DVD, the colours on the DVD seem to me to be very similar but more muted; less vibrant.
Here I stuck a strip of teal on the LIaMST cap:
Notice how the strip of teal is teal and nothing else is? It's because everything else is blue...
You might be best to avoid any color films shot between late 1955 through 1960. No problems if you follow that rule.
Perfect. I wonder if Mr. Tass will look at it and respond because what response can one make other than, oops. Blue is blue, teal is teal, turquoise is turquoise. Color films of this era have blue and Splendored Thing has plenty of it and it is glorious and, as I said in the other Splendored Thing thread, a poster child for what color films of this era look like.
To add to your statements, condition of the original elements may have something to do with a blue push, in addition to an incorrectly calibrated or lower-end display. Oh, and considering the stigma against teal on this forum, some people may just be interpreting an accurate teal presence as incorrect color timing. However, I do not have the disc and I do not have Mr. Tass's eyes so I can't vouch for exactly what he might be seeing.
I think the 'teal and orange' phenomenon Mr. Tass refers to is real enough though. Since the advent of digital post, many movies do seem to have this curiously constrained colour bias, often annoying in the extremes DP's sometimes go to dial it in these days.
What's easily forgotten though is that the root of this particular 'look' is just basic colour theory; it didn't originate with the digital toolsets of modern movie production. The difference was, back then, Cinematographers and Art Directors had to work that palette into the sets, the costumes, the lighting, even tweaking the lab processing.
Personally, I didn't see any kind of bias to Love Is a Many-Splendored Thing, just top notch movie craftsmanship with an attention to detail in every corner of the frame. Definitely, a 'nothing left to chance' canvas...typical for Shamroy shoots.
Actually, you're quite correct. It was the basic color palette of two-color Technicolor,It was replicated quite well on sequences of The Aviator.RAH
Great example RAH. Like maybe this?
Subdued, but the 2-strip Technicolor 'vibe' is certainly there...only with better blacks.
Two-COLOR. Never was two-strip. It was an over / under process with two frames exposed at once, on a single roll of stock.
Okay, then I'll just have to file that under 'old dogs learning new tricks'. Sorry, I never knew that...
Can't imagine why any normal person might.