BrianSiano
Auditioning
- Joined
- May 30, 2008
- Messages
- 12
- Real Name
- Brian Siano
Mr. Harris, I just read your interview with Theo Gluck about _Sleeping Beauty_, and it prompted a question I've been meaning to ask for a while.
In the various documentaries about film restorations, there's usually a discussion of how the colors in the available negatives are compared with those in a dye-transfer print of the film (at least, when such prints exist). And by most accounts I've read, a dye-transfer print offers tremendous color stability, richness, and control, and they're a good means of archiving color films. And from what I can tell, they're perhaps a single generation removed from the original negative.
My question's going to sound pretty ignorant, but: is there a reason why the dye transfer prints aren't used as a primary source for digital copies? I can _imagine_ several reasons why this isn't done, but I'd like to know for certain.
Thank you,
Brian Siano
(waiting for _Lawrence_ on Blu-Ray before taking the plunge into HDTV, and here's hoping they bring you in on _Barry Lyndon_.)
In the various documentaries about film restorations, there's usually a discussion of how the colors in the available negatives are compared with those in a dye-transfer print of the film (at least, when such prints exist). And by most accounts I've read, a dye-transfer print offers tremendous color stability, richness, and control, and they're a good means of archiving color films. And from what I can tell, they're perhaps a single generation removed from the original negative.
My question's going to sound pretty ignorant, but: is there a reason why the dye transfer prints aren't used as a primary source for digital copies? I can _imagine_ several reasons why this isn't done, but I'd like to know for certain.
Thank you,
Brian Siano
(waiting for _Lawrence_ on Blu-Ray before taking the plunge into HDTV, and here's hoping they bring you in on _Barry Lyndon_.)