Robert Harris on The Bits - 10/28/02 column - OFFICIAL THREAD (1 Viewer)

[Damin J Toell]

Furthermore, I find it surprising that Lucasfilm never objected to how studios recycled THX certified LaserDisc transfers for DVD releases and slapped the THX logo on the DVD box art, thus implying that the DVD release was THX certified.

Those releases happened before THX certification system for DVDs was in place.
DJ

 

[Seth_S]

Do what everyone else in America does, threaten to sue a studio if they continue to distort what THX certification actually means.

 

[Eric Stewart]

On my two DVD players, this seems to be an undocumented feature, if it exists at all, so I don't know which button I should multiply actuate to get a bitrate readout. Do all DVD players give such a readout if you know what buttons to press? If so, how do I find out what the secret button combination is on mine?

 

[Peter Mann]

Mr. Harris,

I have a question regarding my favorite film, Vertigo.

Something about the scene in the Argosy book shop has perplexed me for some time now and maybe you might shed some light on it.

Towards the end of the scene the lighting seems to get progressively darker. Then Scottie and Midge leave the shop, stopping in front of it to finish their conversation. Directly behind them we see right into the shop through the window. It is moderately dark. Suddenly and for no apparent reason the entire shop explodes in light, seconds before the scene ends.

My question is:
Is the progressive darkening while Scottie and Midge are in the shop a result of the bad condition of the film before you restored it? Also, is that sudden 'lighting' of the shop interior another anomaly of the bad state of the film negative?

I've always assumed the 'lighting' is a Hitchcock flourish, being so darn obvious, but the darkening inside the bookshop looks more like the result of degradation.

I eagerly await your word.
Thanks,
Peter

 

[Robert Harris]

Peter...

A very good question.

This is the way that the scene was designed and shot, although we did have problems with fading as the scene progressed, and attempted to address them as best possible.

As the shopkeeper explains the sad and dreary tale of Carlotta, the weather outside almost follows the tale, becoming darker and darker. And with a resultant darkness inside the unlit store.

After the scenes cuts to outside the bookstore, the interior lights are switched on.

RAH

 

[Morgan Holly]

Hi all,

Good article Bob, nice read. I do have a few random comments. Firstly, it’s inaccurate to refer to Superbit as a technology. In fact, it is not even eligible for a process patent. Superbit titles are created using the same machines that create non-Superbit titles (DVA-1100 encoders). Superbit titles simply strip the disc down to the film and basic menus to allow maximum bitrates for audio and video, which is commendable, but not a technology or a new concept. If I remember correctly, "Antz" was a CBR encode at close to 9Mbps. You can still achieve high bitrates and have plenty of extras on a disc if you’re smart about bit allocation and are working with a short film. Also, I don’t understand your statement about a bad master looking worse by being given the Superbit treatment. More bits are always better without exception.

I was surprised that you did not mention Criterion Collection titles in your article. Criterion has always had a policy of opting for dual layer releases if the bitrate was lower than 5Mbps average or would necessitate DVNR trickery to accommodate the available disc space. In fact, I have worked on several Criterion titles that have averages of 7Mbps or higher. I know that you know Maria well and believe me when I say she prefers to bypass the DVNR on all of her encodes. Of course there is always an exception to the rule, but the Criterion policy predates Superbit titles by many years.

On the THX issue, they do QC the compression and make creative/subjective decisions about changes to the bitstream and have made questionable calls in the past. Highlander is the most glaring example. It just took a while for them to settle into the market and find their stride. They now have many seasoned professionals capable of assuring THX quality. Annie Chang from THX is one of the sharpest people in the industry. You are correct that they do not make color correction or other telecine related creative decisions. Sometimes they are not involved in a DVD until after the telecine master is complete.

Lastly, as a consumer I would prefer the omission of half-bitrate DTS on Superbit titles to raise the maximum and average bitrate for the video. DTS really eats into available headroom and real estate on DVD titles.

Cheers,

Morgan

 

[Morgan Holly]

Most Pioneer and Sony players do, but not all brands.

 

[Robert Harris]

Morgan,

You are quite correct that SuperBit is not a "technology." It is, rather, using the extant technology to raise the barre for standards as the public can relate to them.

Criterion has always done whatever possible to not only hold standards, but to replicate, as closely as possible the "film look." During the compression of Spartacus we were losing bits and pieces of additional elements in order to hold the bit rate, and they hit a very good balance.

The one nice thing about SuperBit, where consumers are concerned, especially in the longer program category, is that one can select a single or dual disc purchase based upon one's personal desire or need for quality vs. content.

RAH

 

[PaulEB]

Mr. Harris,

What is your opinion of Lowry Digital Images? I heard they were involved with the Sunset Boulevard "restoration".

Also, I just saw Lawrence of Arabia in Boston at the Coolidge Corner Theater. It was a new 70mm print and was simply magnificent. I own the DVD, but seeing it on a big screen was just amazing.

Paul

 

[Robert Harris]

Lowry Digital Images is a fine company, which has the capability of doing superb work. They have been on the cutting edge of the digital world for quite a while.

But while they have these wonderful capabilities, they must also exist, do business (and hopefully profit) in the real world.

Which means that they must turn out a product to the liking of whatever executives are in corporate studio positions at any time.

Which in turn means that they are at the whim of these executives and decision makers, many of whom have absolutely no background in film, or at best a minimal background.

And this is where they occasionally stumble when it comes to preserving the look of a film as opposed to creating a new product.

While new products are fine and can be quite beautiful. Use Disney's Snow White as an example. A great dvd release.

We can go a step in another direction -- N x NW -- another superb dvd, but also not quite an accurate representation of the film, but quite acceptable nonetheless.

The one area where I do not and cannot agree with the use of Lowry's digital "powers" is in taking a perfectly good digital representation of a film and removing from it every last vestige of its "filmness."

Where removing film grain and Disney "dust" from Snow White can create a nice new product, removing the film grain from a film like Citizen Kane, and making changes within that film via digital means is another.

Unless of course said film is being offered as a new digital product, not representative of the original.

It all seems to come down to levels of digital adjustment.

While a little can go a long way, too much can destroy an otherwise superb product.

Would I use or recommend LDI?

Certainly.

They have the capability of creating some wonderful digital images.

One must be smart enough, however, to harness those available tools and energies and use them wisely.

Which also means that, as a vendor, one should ask why a corporate exec may wish to do something that seems improper and possibly suggest otherwise. Even at the risk of losing a job.