- Joined
- Feb 8, 1999
- Messages
- 18,422
- Real Name
- Robert Harris
Working within the studio system can alternately be both an extremely satisfying, as well as a frustrating experience, especially when one wishes to place art over commerce. When we perform restorations, we are able to control them and take them as far as possible, within the limitations of that system.
Considering the alternatives, which no one but a few people ever heard, the new mix for "Vertigo" is as close as we were permitted to get to the original intent. It must be understood that "the studio" is not the bad guy here. This was simply a matter of everyone's needs being met to a certain extent. To that accord, our needs were fairly met, as were there's.
A few comments regarding image and audio:
The image:
Photographed in VistaVision on a later example of Eastman Color 5248, and optically reduction printed to Technicolor matrices for dye transfer printing, the dye transfer prints of “Vertigo” look little like the original negatives from which they were derived. The overall look of the prints tended toward “grainless,” with high contrast, which served to hide what was, in reality, a slightly soft image structure. Contrast yields “apparent” sharpness. Color was hyped, especially in the reds to give it the Technicolor look.
The original negative of “Vertigo” as it now exists, has a totally collapsed yellow layer.
Yellow controls contrast and blue, which means that reproduction of black is impossible, shadows go blue, blacks and grays go varying shades of blue, and facial highlights can take on a beautiful “crustacean-like” appearance, especially nice if the viewers are lobsters.
The separation masters, although well produced, are on acetate base stock, and no longer register. If we were to restore “Vertigo” today, we would use methodology that we have been using only for the past few years, and working totally within the digital realm. With these newer processes, the film could now look more accurate to the original.
The majority of “Vertigo” was created via the production of new interpositives struck from the camera originals with very specific modifications to exposure and processing in an attempt to bring back as much of the color as possible.
At all times, the battle was a question of more proper color vs. poor registration of color layers. One could never have both. Dupes began with fifth generation elements and got worse from there.
The audio:
The tracks for “Vertigo” were quite different from those of Rear Window in one very basic arena. They contained what is considered by some to be one of the finest symphonic scores ever created for a motion picture, and we concur.
The original magnetic tracks for “Vertigo” were junked by order of Mr. Hitchcock’s company on February 6, 1967. The only domestic audio element delivered to Universal by virtue of their agreement with the estate in 1983 was the original 35mm optical sound track negative, which at that time was no longer printable.
This meant that the only audio source for “Vertigo” were a handful of used 35mm release prints, with worn track areas. A number of prints were assembled in order to create one complete audio track for the film. Dependant upon the date of production, and the amount of physical wear on the original track negatives, they also contained built-in scratches, nicks and positive dirt.
About 1994, Mr. Katz and I located, with the cooperation of Paramount Pictures, the original orchestral floor recordings for the four Hitchcock Paramount titles. These recordings were in short sections and in an advanced state of decay due to Vinegar Syndrome. Dubs of these sections had been built into music stems for the final mix.
This meant that the final magnetic master, which included music, was a third generation magnetic element. The optical sound track negative was a fourth generation element and that 35mm prints were fifth generation (optical) audio.
The music recordings were transferred as precisely as possible to new full coat magnetic stock. The resultant master dubs, which became the source of a new CD of the score, were played at the Hitchcock Theatre at Universal Studios for a number of people inclusive of critics, studio executives and members of Mr. Hitchcock’s team. Mr. Hitchcock’s producer, Herbert Coleman, was on our team.
A comparison of these recordings with what had survived as optical dupes led every individual involved to concur that a new stereo element should be created to replace the earlier recordings specifically for a new 70mm 6 track stereo re-issue of the film.
Because there were no surviving magnetic elements, there were no separate tracks for effects or dialogue. This meant that the dialogue for the film had to be carefully culled from its optical source. Because music was sometimes a background factor, the new score had to be reproduced at slightly higher levels.
During our research we were able to locate Mr. Hitchcock’s personal notes regarding the handling of the audio for the film, inclusive of specific notes for daily dubbing sessions. It was our intent to not only follow these notes, but also to play, contrast and compare the new Foley and effects tracks with what had survived of the optical on a scene by scene basis to stay absolutely true to the original intent of the filmmakers, acknowledging that (from research culled from foreign tracks) that more information was held within the magnetic originals than ever reached the optical negative stage. This varied from version to version, and the various mixes of foreign elements.
One piece of music, which did not survive the ravages of vineger syndrome, and which had a great deal of wow and flutter in the U.S. optical recording, was found without the problem in a Spanish dubbbed version and replaced.
Our efforts, which tended more toward a methodical archival bent in reproducing the wishes of the filmmakers was not, however, in synchronization with the desires of the studio, which decided toward the creation of an entirely new mix for the re-issue.
This is their right. And it must be noted that the studio sound department went far out of their way to newly record the full gamut of effects and Foley necessary for the film.
In the final analysis, the monaural track that we would have liked to have used as reference “went missing” at the time of our dub sessions.
The new tracks are quite toned down from what they were originally, as with the help of interested filmmakers, we were able to get the studio to pull back somewhat on their wish for wall to wall modern effects, and the sound of a more modern entertainment.
The final resultant tracks, while not what we would have desired as a reference standard are far and away closer to the original than we would have had, had we not continuously requested a lessoning in the effects area.
The point here is that neither Mr. Katz nor I work in a vacuum. We attempt to bring things as close to perfection as we can, based upon two things: the state of the art at the time that the work is performed, and the desires of the studio for whom the work is being performed, and who control the property.
Do we approve of the new mix and do we personally like it?
Absolutely!
Like the recent DVDs from Disney of their animated classics, the new stereo tracks for "Vertigo" neither replace the ghost which remains of the original, nor has caused them further damage or decay.
While not perfectly in the spirit of the original, they work well, especially when the film is seen on a huge screen and in 70mm, not as an artifact from half a century ago, but as a new piece of entertainment for a new audience. In many ways the new tracks take the film further than it was ever able to go, especially when re-creating the magical sound of Mr. Herrmann's score as it was originally played and recorded in 1958.
Along with the studio, we take great pride in this track.
The fact that it does not perfectly replicate what is left of the original is a totally different affair.
The creative process is very much a matter of give and take. Beginning with slightly different final concepts, and with incredible help from the studio, a new set of tracks were created, which meet our various needs and desires squarely in the middle -- a modern track, making full use of the original music recordings, and with a mix of old and new technology, sometimes keeping with the old, and sometimes moving off into new directions.
RAH
Considering the alternatives, which no one but a few people ever heard, the new mix for "Vertigo" is as close as we were permitted to get to the original intent. It must be understood that "the studio" is not the bad guy here. This was simply a matter of everyone's needs being met to a certain extent. To that accord, our needs were fairly met, as were there's.
A few comments regarding image and audio:
The image:
Photographed in VistaVision on a later example of Eastman Color 5248, and optically reduction printed to Technicolor matrices for dye transfer printing, the dye transfer prints of “Vertigo” look little like the original negatives from which they were derived. The overall look of the prints tended toward “grainless,” with high contrast, which served to hide what was, in reality, a slightly soft image structure. Contrast yields “apparent” sharpness. Color was hyped, especially in the reds to give it the Technicolor look.
The original negative of “Vertigo” as it now exists, has a totally collapsed yellow layer.
Yellow controls contrast and blue, which means that reproduction of black is impossible, shadows go blue, blacks and grays go varying shades of blue, and facial highlights can take on a beautiful “crustacean-like” appearance, especially nice if the viewers are lobsters.
The separation masters, although well produced, are on acetate base stock, and no longer register. If we were to restore “Vertigo” today, we would use methodology that we have been using only for the past few years, and working totally within the digital realm. With these newer processes, the film could now look more accurate to the original.
The majority of “Vertigo” was created via the production of new interpositives struck from the camera originals with very specific modifications to exposure and processing in an attempt to bring back as much of the color as possible.
At all times, the battle was a question of more proper color vs. poor registration of color layers. One could never have both. Dupes began with fifth generation elements and got worse from there.
The audio:
The tracks for “Vertigo” were quite different from those of Rear Window in one very basic arena. They contained what is considered by some to be one of the finest symphonic scores ever created for a motion picture, and we concur.
The original magnetic tracks for “Vertigo” were junked by order of Mr. Hitchcock’s company on February 6, 1967. The only domestic audio element delivered to Universal by virtue of their agreement with the estate in 1983 was the original 35mm optical sound track negative, which at that time was no longer printable.
This meant that the only audio source for “Vertigo” were a handful of used 35mm release prints, with worn track areas. A number of prints were assembled in order to create one complete audio track for the film. Dependant upon the date of production, and the amount of physical wear on the original track negatives, they also contained built-in scratches, nicks and positive dirt.
About 1994, Mr. Katz and I located, with the cooperation of Paramount Pictures, the original orchestral floor recordings for the four Hitchcock Paramount titles. These recordings were in short sections and in an advanced state of decay due to Vinegar Syndrome. Dubs of these sections had been built into music stems for the final mix.
This meant that the final magnetic master, which included music, was a third generation magnetic element. The optical sound track negative was a fourth generation element and that 35mm prints were fifth generation (optical) audio.
The music recordings were transferred as precisely as possible to new full coat magnetic stock. The resultant master dubs, which became the source of a new CD of the score, were played at the Hitchcock Theatre at Universal Studios for a number of people inclusive of critics, studio executives and members of Mr. Hitchcock’s team. Mr. Hitchcock’s producer, Herbert Coleman, was on our team.
A comparison of these recordings with what had survived as optical dupes led every individual involved to concur that a new stereo element should be created to replace the earlier recordings specifically for a new 70mm 6 track stereo re-issue of the film.
Because there were no surviving magnetic elements, there were no separate tracks for effects or dialogue. This meant that the dialogue for the film had to be carefully culled from its optical source. Because music was sometimes a background factor, the new score had to be reproduced at slightly higher levels.
During our research we were able to locate Mr. Hitchcock’s personal notes regarding the handling of the audio for the film, inclusive of specific notes for daily dubbing sessions. It was our intent to not only follow these notes, but also to play, contrast and compare the new Foley and effects tracks with what had survived of the optical on a scene by scene basis to stay absolutely true to the original intent of the filmmakers, acknowledging that (from research culled from foreign tracks) that more information was held within the magnetic originals than ever reached the optical negative stage. This varied from version to version, and the various mixes of foreign elements.
One piece of music, which did not survive the ravages of vineger syndrome, and which had a great deal of wow and flutter in the U.S. optical recording, was found without the problem in a Spanish dubbbed version and replaced.
Our efforts, which tended more toward a methodical archival bent in reproducing the wishes of the filmmakers was not, however, in synchronization with the desires of the studio, which decided toward the creation of an entirely new mix for the re-issue.
This is their right. And it must be noted that the studio sound department went far out of their way to newly record the full gamut of effects and Foley necessary for the film.
In the final analysis, the monaural track that we would have liked to have used as reference “went missing” at the time of our dub sessions.
The new tracks are quite toned down from what they were originally, as with the help of interested filmmakers, we were able to get the studio to pull back somewhat on their wish for wall to wall modern effects, and the sound of a more modern entertainment.
The final resultant tracks, while not what we would have desired as a reference standard are far and away closer to the original than we would have had, had we not continuously requested a lessoning in the effects area.
The point here is that neither Mr. Katz nor I work in a vacuum. We attempt to bring things as close to perfection as we can, based upon two things: the state of the art at the time that the work is performed, and the desires of the studio for whom the work is being performed, and who control the property.
Do we approve of the new mix and do we personally like it?
Absolutely!
Like the recent DVDs from Disney of their animated classics, the new stereo tracks for "Vertigo" neither replace the ghost which remains of the original, nor has caused them further damage or decay.
While not perfectly in the spirit of the original, they work well, especially when the film is seen on a huge screen and in 70mm, not as an artifact from half a century ago, but as a new piece of entertainment for a new audience. In many ways the new tracks take the film further than it was ever able to go, especially when re-creating the magical sound of Mr. Herrmann's score as it was originally played and recorded in 1958.
Along with the studio, we take great pride in this track.
The fact that it does not perfectly replicate what is left of the original is a totally different affair.
The creative process is very much a matter of give and take. Beginning with slightly different final concepts, and with incredible help from the studio, a new set of tracks were created, which meet our various needs and desires squarely in the middle -- a modern track, making full use of the original music recordings, and with a mix of old and new technology, sometimes keeping with the old, and sometimes moving off into new directions.
RAH
Obsessed? Clearly!
