Olive Films Blu-ray Release and Discussion Thread (1 Viewer)

[Persianimmortal]

I have a Panasonic BDT300, a great player I've had since 2010, with everything I need. It can apparently be firmware modded to Region Free for an undisclosed "donation" price. Not really worth the cost/risk/bother, as once again there is only a handful of stuff that I truly want that is locked to Region A for any length of time. Probably better to wait for my player to die, then opt for a new Oppo with the region free mod.

I think I've dragged the thread off-topic long enough, so I think it's best not to go on about this. But basically, artificial regional distinctions are truly frustrating and ultimately pointless in this day and age. I'm sure there's some sort of practical/financial reason why this sort of regional licensing still goes on, but as I say, I can't imagine it is doing any good for the BD market overall, and I really do hope that any more of my favorites don't fall into Olive's hands.

 

[Nick Eden]

I totally agree with your comments on region coding for Olive BDs. I will still buy a title if I really want it (One Touch of Venus or Father Goose or That Touch of Mink). But I think twice now as they are locked to A. Oh sure I can play region A BDs but only in one room of the house. I do not have the freedom to play a title where I want, hence my hesitation and ultimately my decision not to buy.

 

[JoHud]

I sure hope this means something Robert. Despite my criticisms of Olive's quality standards, I want to believe they are finally making a sincere effort to research and present the best archival sources that exist for these films.

Usually when an Olive release looks its best, it's because Olive is distributing from an outside institution like Bavaria, UCLA, and Film Foundation (though perhaps not Ignite Films). I would say they definitely mean something considering Olive is merely the distributor. Bavaria's restoration of Twilight's Last Gleaming is head over heels above most of the standard Olive fare and Film Foundation restorations have always promised a quality viewing experience. Same with UCLA barring films suffering irreparable film damage (i.e. the Vitaphone Varieties DVDs) which are still in their best possible viewing condition regardless.

Actually, I don't think Olive used UCLA or Film Foundation restorations up until recently for a select few films. I'm glad Olive is at least showing some initiative of getting elements outside of whatever Paramount has in its facilities.

 

[Richard Gallagher]

I watched the Bob Hope comedy Off Limits last night, and it is a very nice transfer. It looks like the transfer was sourced from a print made for the U.K. market because the title card shows the title as Military Policemen. It's an amusing service comedy with nice supporting performances from Mickey Rooney and Marilyn Maxwell. Boxing champion Jack Dempsey appears as himself.

 

[JoHud]

The recent comedy releases of Bob Hope and Danny Kaye should be nice transfers as they were all done through Paramount early on. I can vouch for the Bob Hopes as I've just watched them today which both benefit most on blu-ray from some scenes shot "on location" outdoors. I also noticed alternate title of Off Limits was used and had to look it up shortly after watching it out of general curiosity.

The Danny Kaye titles looked very nice on DVD and expect the same can be said of the blu-rays.

 

[haineshisway]

Here is the bottom line for any label like Olive Films - have some bloody discernment. If you want to license a film like The Court-Martial of Billy Mitchell and you are sent the transfer and it's a horror show - send it back, don't license it and move on. You don't have to release everything you can get and none of us need to spend dough on transfers that are barely watchable and nowhere approaching acceptable.

 

[ahollis]

Here is the bottom line for any label like Olive Films - have some bloody discernment. If you want to license a film like The Court-Martial of Billy Mitchell and you are sent the transfer and it's a horror show - send it back, don't license it and move on. You don't have to release everything you can get and none of us need to spend dough on transfers that are barely watchable and nowhere approaching acceptable.

I agree with you. I just don't understand how some companies get a pass and defense showers upon them when they have a poor release but other companies can't do anything right. I don't knock Olive personally but I have learned to wait for reviews before purchasing.

 

[Robert Crawford]

I agree with you. I just don't understand how some companies get a pass and defense showers upon them when they have a poor release but other companies can't do anything right. I don't knock Olive personally but I have learned to wait for reviews before purchasing.

Which companies are getting a pass on this forum? Olive has been criticized a number of times for some of their releases.

 

[MisterLime]

Some films can't just be transfered from whatever prints are lying around. Olive should go out of their way to get better elements and occasionally do a *little* digital cleanup.
Some examples:

The Court-Martial of Billy Mitchell: Hazy, faded image. I have to agree with Mr. Crawford in saying that this is the weakest image Olive has offered that I have seen(No, I do not have The Quiet Man or High Noon. I have no plans to purchase the latter.) The audio also should be the original 4-track stereo mix. Olive was too lazy to retrieve a 4-track source. If the 4-track mix is lost, than an explanation should be provided as to why the track is not the best representation of the original.

The Grass is Greener: I can't comment on the image issues as it has been a while since I've viewed this BD, but the audio suffers from harsh sibilance which should not be an issue for a 1960 film. In case you can't tell, sub-par audio is always a deal-breaker for me.

Champion: Failure to use OCN when OCN is still available.

McLintock!: Same as above.

High Noon: Same as Champion.

Paramount and Olive Films look for the best available material and not just pickup whatever is laying around. The OCN for many of these films do not exist or are badly damaged and cannot be used, so after a very thorough search they usually use the best available elements. Sometimes they use elements from many sources to create an HD master. People who are angry about Olive's decision to cancel some releases due poor available elements please read the last three or four pages and you'll know why. This guy is actually complaining about the beautiful transfer of HIGH NOON.

 

[Mike Frezon]

Damned if you do, damned if you don't.

 

[ROclockCK]

Damned if you do, damned if you don't.

...or, just damned well do better.

 

[Moe Dickstein]

Steve, Better is not always possible without going into extensive digital cleanup and repair, which seems to be something that is not part of Olive's business model.

 

[ROclockCK]

Then as Bruce suggests, Olive should learn when to say "No thank you, not good enough", and simply pass on that master...or shelve the title entirely until a better element can be found/negotiated.

BTW, that's not to be confused with "anger"; it's just "exasperation". I never know what to expect when I open those Olive cases anymore.

 

[ahollis]

Which companies are getting a pass on this forum? Olive has been criticized a number of times for some of their releases.

I have been taken to task a few times for not liking some of the Olive Releases PQ wise. I believe there is even a longer discussion earlier in this thread or on the Quiet Man thread. I am not an expert in all this but I know what I like and it usually goes with most of the other thoughts on this forum so I must have a good eye. But people are always jumping to the defense of Olive. I will say that in the past Olive has declined to release some titles, 8 I think, because of poor materials and some people said go ahead and release it anyway. I'm not of that thought. If its going to be Blu then it needs to better. I know that you are a fair person and have praised and criticized. I think Geisha Boy is one if their great transfers but have problems with Quiet Man and a few others. McClintock? I thought Father Goose was just Ok, but was told that at least it was anamorphic now so look beyond the transfer. I agree that not everyone gives Olive a pass, but it appears to me that marginal transfers are given the well the transfer is not the best but at least we have the title. For the record I do own many Olive titles. Some are very good and others just so so. I am a supporter of classic titles on Blu, but feel they should be the best. Now that I completely bored you with my ramblings, I will get off my soapbox.

 

[MisterLime]

Steve,Better is not always possible without going into extensive digital cleanup and repair, which seems to be something that is not part of Olive's business model.

...or, just damned well do better.

 

[John Hermes]

While I wish some Olive releases looked better, I'm glad to have them. Without Olive, these films would still probably be sitting around with no release in sight....ever. Hell, the big studios don't release many of their "A" films, let alone the stuff Olive puts out.

 

[ahollis]

Then as Bruce suggests, Olive should learn when to say "No thank you, not good enough", and simply pass on that master...or shelve the title entirely until a better element can be found/negotiated.

BTW, that's not to be confused with "anger"; it's just "exasperation". I never know what to expect when I open those Olive cases anymore.

Agree that you never know what you get before you open the case. That's why I wait to read a review now do I know what to expect and if I think it's worth it.

Also both Shout and Twilight have said "no thank you, it's not good enough. We pass."

 

[Bob Furmanek]

When we began looking at various methods to fix wear and damage on some of our 3-D elements, we realized that it would not be economically possible to repair every single flaw in a 60+ year old element.

These repairs are not cheap and you can wind up spending more money than you would ever hope to make back in sales. Let's face it, the bottom line for any distributor is not losing money. It's a fine line you have to walk so please keep that in mind when you watch transfers of older films.

Nobody has an unlimited budget!

 

[FoxyMulder]

In an ideal world there would be a film fund which all the major studio's contribute to and use specifically for restoration and we would get quality 4K, 6K or 8K scans depending on the film stock they shot, in this ideal world all movies get love and attention no matter how bad they are and money is spent on them for film preservation and not just because they have a chance of turning a profit on the home market, unfortunately we don't live in an ideal world.

 

[davidHartzog]

I am happy with the many Olive releases I've bought, particularly the ones for films i thought i would never have.