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WHV Press Release: Singin' In The Rain 60th Anniversary Ultimate Collector's Edition (1 Viewer)

Robert Harris

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For one day only, Fathom Events will be screening Singin' in the Rain -- July 12th.

While you may wish to be one of the first to purchase tickets, from past issues discussed on HTF, my recommendation is to skip it,
and purchase the Blu-ray.

Garbage in, garbage out.

"Limited Seats Available"

Hurry, our operators are standing by.

RAH
 

Doctorossi

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Robert Harris said:
For one day only, Fathom Events will be screening Singin' in the Rain --  July 12th.
While you may wish to be one of the first to purchase tickets, from past issues discussed on HTF, my recommendation is to skip it,
and purchase the Blu-ray.
Garbage in, garbage out.
"Limited Seats Available"
Hurry, our operators are standing by.
RAH
That would be mine, as well. Despite the certain availability of good digital projectors in the venues in which this will be screened, I would be shocked to see Fathom take the step away from the 'pre-show' data projectors any time soon.
 

ahollis

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Originally Posted by Chas in CT /t/320716/whv-press-release-singin-in-the-rain-60th-anniversary-ultimate-collectors-edition/60#post_3934487
Haven't been to one of these yet, and don't intend to start now.

I think you are smart in your position. There needs to be much more QC work on these presentations. I generally like the idea, but feel the they need to send hard drives to the theatres and not depend on satellite downloads. That is until they force the management staff to check out the presentation. With it coming from Fathom, which is owned by NCM (National Cinema Media), the films are coming over the same satellites that they send the pre-shows. Some theatres then use their digital theatre projectors that they use for features or if they are not yet set up to use the main digital projectors, then a smaller digital projector is used that is for pre-show only. That digital projector is just a little better than the average home front projectors. The problem is really not giving the theatre management enough time to preview it.
 

Garysb

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The idea that you can see a classic film in a theater is such a great one. It's a shame that the execution is so poor. The least they could do is distribute the film in advance instead of live. There is no point in doing it live where they risk problems with transmission.
 

Doctorossi

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Garysb said:
The least they could do is distribute the film in advance instead of live. There is no point in doing it live where they risk problems with transmission.
Yes, it's kind of stupefying, considering they have to book the theaters long in advance, anyway.
 

Douglas Monce

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Doctorossi said:
Yes, it's kind of stupefying, considering they have to book the theaters long in advance, anyway.
Fathom's whole system is setup for live transmission, because they primarily do live broadcasts of opera concerts to theaters.
Doug
 

Powell&Pressburger

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I have said it before and I will say it again, I attended a FATHOM event for POLTERGEIST before the BLU was released and it was the worst presentation EVER! The video was cropped at 1.85:1 approx and the sound was what felt like 2 stereo or maybe just mono IT was awful to even sit there. Save your money for the BLU ray and enjoy it in a better presentation.
 

Douglas Monce

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Powell&Pressburger said:
I have said it before and I will say it again, I attended a FATHOM event for POLTERGEIST before the BLU was released and it was the worst presentation EVER! The video was cropped at 1.85:1 approx and the sound was what felt like 2 stereo or maybe just mono IT was awful to even sit there. Save your money for the BLU ray and enjoy it in a better presentation. 
I also saw the Poltergeist fathom screening. I left 10 min into it and got my money back. The Star Trek The Menagerie screening a year or so later was MUCH better, as the theater was using their Digital Cinema projector rather than their pre-show commercial projector.
Doug
 

Mark-P

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Screencaps are up at DVD Beaver. Colors appear to be a bit bolder than the special edition DVD. But I think those who despised the color scheme of the last release (I wasn't one of them, I thought the DVD looked fantastic) probably aren't going to like the Blu-ray either as the colors are very similar.
 

FoxyMulder

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Originally Posted by haineshisway /t/320716/whv-press-release-singin-in-the-rain-60th-anniversary-ultimate-collectors-edition/90#post_3943682
If the colors are similar to the DVD it's wrong. Too brown, sorry. But I would never judge anything by the Beaver caps.

They are unreliable, check this site out and see how using PowerDVD as Beaver does can cause issues.

http://criterionforum.org/forum/viewtopic.php?p=245921#p245921

The person who worked on that transfer ( David Mackenzie ) contacted DVD Beaver to ask why the caps they posted were so soft and undetailed, they didn't even listen to him, not good, therefore if you want to use screencaps to look at the quality of a release then i suggest sites like Hundland or Cinema Squid who capture correctly.
 

Ronald Epstein

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Screencaps on DVD Beaver have caused more unnecessary controversy
than anything else I can remember here.
I hate screen caps being used as a gauge for transfer quality. There are so
many things that can go wrong with them.
 

Robert Harris

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The earlier DVD appears to have been sourced from a faded CRI. The Blu-ray has correct color.

RAH
 

Robin9

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Robert Harris said:
The earlier DVD appears to have been sourced from a faded CRI.  The Blu-ray has correct color.
RAH
Now, that is encouraging! Thank you.
 

NY2LA

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I was under the impression that the DVD had been done from Warner's proprietary Ultra Resolution process in which all three technicolor matrices are scanned digitally then precisely aligned to produce truer resolution than ever seen before. When shown at the Academy you could see Kelly's scar, makeup details, etc. We all assumed (as the publicity of the time stated) the DVD came from that.
Therefore it's kind of curious to hear someone suggest the DVD was sourced from an old element, print or neg.
With the "connections" this forum is supposed to have, couldn't someone just call Mr. Feltenstein or Mr. Price and ask what was mastered from what? From my latest net search, it seems we haven't heard from them lately.
 

haineshisway

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Robert Harris said:
The earlier DVD appears to have been sourced from a faded CRI.  The Blu-ray has correct color.
RAH
Great news. Funnily, the faded CRI scenario was what I believed for the DVD release because the color was nothing like any IB Tech print I've ever owned or seen. But even if it was off some new element, whoever did the color timing clearly did it incorrectly.
 

rdimucci

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NY2LA said:
So when the industry complains that Blu Ray is not taking off and becoming the bonanza that DVD was, and that reissues aren't selling so well on Blu Ray, I think they're often refusing to factor in the cheap-ass job they did on them.
This same thing happened In the early days of DVD, when studios would dump old nonanamorphic laserdisc transfers onto DVD with remastering them for the new medium.
 

rdimucci

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NY2LA said:
I was under the impression that the DVD had been done from Warner's proprietary Ultra Resolution process in which all three technicolor matrices are scanned digitally then precisely aligned to produce truer resolution than ever seen before. When shown at the Academy you could see Kelly's scar, makeup details, etc. We all assumed (as the publicity of the time stated) the DVD came from that.
Therefore it's kind of curious to hear someone suggest the DVD was sourced from an old element, print or neg.
With the "connections" this forum is supposed to have, couldn't someone just call Mr. Feltenstein or Mr. Price and ask what was mastered from what? From my latest net search, it seems we haven't heard from them lately.
A poster to another forum described the creation of the SINGIN' IN THE RAIN DVD this way:
"The original negatives for the movie are lost. But there are positive prints, in black and white, of the 3 original negatives (which were black and white); these three positives, when dyed and printed to a single film in the three colors yellow, magenta, and cyan, yield the Technicolor image.
"The 3 black and white masters were scanned in separately, and all the shrinkage and other problems corrected in the computer. Then the three grayscale digital files were composited together digitally, and put on disk."
 

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