Superman Ultimate Collector's Edition, etc. Exchange Number and info - Page 12

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

Hey!

I can tell all of you that after 3 1/2 months struggling to get replacement discs, I finally got them a couple of weeks ago. Started with many phone call attempts in late Dec./early Jan., then E-mails to whatever WB home video suggested, then I got an E-mail from a rep in Feb., and then in late March finally got the envelopes to send the discs back, and finally 2 weeks later got the replacements.

I can tell you right here and now there is really nothing wrong with the original 2.0 soundtrack represented on STM disc one (the corrected version). Despite all I've been hearing about the dialog problems and what not, to me the 2.0 sounds the same as it was on the laserdisc, even better. It does have a much crisper and cleaner sound, even when you play it through a normal stereo TV, and the direction of the dialog is no problem either. In plain English, I think the 2.0 on the STM Disc one sounds just fine to me. I am happy with it.

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

But have you heard it in Pro Logic II mode (which is where the problem apparently is)?

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

What "other thread"?

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

The mystery thread mentioned above was one that dealt with the new problem with the replacement disc for SUPERMAN: THE MOVIE. It seems WB did re-instate the origial theatrical 2.0 soundtrack, but the way it's been put on disc is defective. All Dolbly soundtracks should have a center channel -5.1, 6.1, 7.1 and even Dolby Surround ones (2.0). On the replacement disc the dialog is heard over all the speakers - when it should be only in the center - except during certain scene where there's a echo or other effect. Test your disc and pick a quiter scene where there is no music and a low amount of soundeffects. It play like SUPERMAN III and SUPERMAN IV which are also 2.0 mixes. It seems the tread that mentioned this was deleted for some weird reason. Maybe Warners didn't want it to get out especially with the re-release of the Silver Box set in May. It's really sloppy that no one caught on to this. I've been reviewing and working on home video releases for 20yrs and this is more akin to what went on in the early days of stereo for VHS/Beta HI-fi and some early Laserdisc releases. From the beginning Warners should have had a recall instead of drawn out return/exchange which wasn't really consumer friendly or very publicized. In fact they did pull the box sets from the shelves from some major chain but that was AFTER Christmas, after selling as much stock they could. Knowing very well most consumers didn't even know about the problem. Complain people to WB if yo want this fixed... and before this tread disappears.

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

Top story at capedwonder.com on the sound issue search for message from Michael Thau dated Apr. 19, 2007:
http://www.capedwonder.com/newwebsite/pages/index2.htm

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

Michael is wrong. Dolby has certain standards and originally set up the process of Dolby Surround to create in a constant way how a film would sound. Only earlier films not in the Dolby Surround process – done in, and listed as Dolby System had only Dolby noise reductions via compression, were different. Once Dolby Surround came into being in the mid-70’s the standard of 4.0 tracks, where were encoded into 2.0 as a compressed format to fit onto 35mm film, then decoded in the theatre back into 4.0. This matrix is comprised of Front Left, Front Center, Front Right and a MONO rear, or Surround track.
The laserdisc DID NOT sound the way Mr. Thau is states. He is also very wrong about the original film sound this way. It is against what Dolby Labs ever intended. Going by the way WB has avoided calls and the way a previous thread was deleted I dare say some is being a mouth piece to cover up shoddy work. My info is not via some “fan” but rather the company who invented the sound format, and what I’ve heard in the past.
BTW – need I mention how slanted the archival footage for the 2001 SUPERMAN. It was nothing short of revivalist history as per the director.
I am old enough not only to have experienced the original SUPERMAN in the cinema, but have followed the progression and evolution of cinema sound as we know it today from Dolby Labs. I’ve have also been a consultant to a great many more films as a professional, not just because I was “fan”.

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

Considering he worked on the movie and you didn't, that's a fairly presumptuous statement to make.

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

He only worked on the restoration of the 2001 version. I know what I've heard from past representations, from what is standard in terms of Dolby Technologies, and that format. "Draping" the sound across the front three speaker just wasn't done. Having it leak that much into the surrounds is wrong. It didn't sound that way when I saw it in the theater, nor on any previous home video release. Besides, why doesn't SUPERMAN II sound that way, or the other sequels? It a screw-up plain and simple.

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

Maybe it is a screw-up but I don't think that you're the final arbiter on the matter.

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

BTW, my sarcastic comment about the "other thread" was more making light of the fact that it was utterly removed from the forum for....interesting reasons.

Just thought I would clear that up, now on with the debate.

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

All I know is that the 2000 dvd release of SUPERMAN: THE MOIVE was full of one sided views and historical retelling of how the film was made and how it represented the production. This was due to Donner. He re-edited the film, changed the mix all on his own. He never consulted the film's producer. That Thau guy worked with Donner in the past and since he over saw the restoration. The changes reflected Donner, and I feel so does what Thau says. They were hell bent to making their own version. I find it intersting that the originaly mix, or it lacking was missing from this new release. Now the original mix is screwed up and is being defended by someone who changed it in the first place. All I know is that the film's producer was unhappy with the changes with the new mix. I was suppose to work on this new release, as per the producer but WB didn't want it. Instead they only used my previous commentary for SUPERGIRL - for which I was a consultant on for another company. This is why I know about soundtacks and how Dolby works. We made a 5.1 from a 2.0 for SUPERGIRL. The same was done for THE WATCHER IN THE WOODS when I worked on that.
When WB stated to the producer they were working on a new master for the SUPERMAN movies I had suggested not to release just the theatrical but instead a new edit that combined both SUPERMAN I and II - the way it was written; instead of breaking the film into two movies. I had suggested that all if not most of the footage seen on ABC be added to both I and II making an epic length movie. It woud have been 4 - 5 discs long but incredible.
People have wanted that footage for years. If it was done this way people woud have seen the footage for the first time in widescreen since it was only shown pan & scan on Network TV.
I had also offered WB origianl raido spot for I, unaired TV spots and an alternate trailer for II. There is so much more in terms of bonus materials it sickens me that they didn't use it. Worse, with all this hype about how many gigabytes are available in both Hi-def formats there was more than enough room - yet they chose not to use it. They also turned down a lot of material for SUPERGIRL from the producer. WB needs to get their act together like MGM did with BOND. There are no audio problems with the BONDS, the 2.0 tracks are perfect.

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

I did something similar with Universal's replacement of defective Back To The Future discs, although that was only done by Universal Canada, but in any case back then I used to buy from Canadian e-retailers because of the favourable exchange rates. I similarly received replacements before I received the actual box.

This time around, I hadn't bought the initial release, and have been waiting for the replacement, which is now available for pre-order at Amazon.

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

Actually, according to Donner, the re-cut and the new mix were really the work of Michael Thau. Donner even expressed surprise when asked about the new mix.

It would have been nice if Live and Let Die and The Spy Who Loved Me had 2.0 tracks, and the mono track on Thunderball is different from the one found on earlier video releases, but overall I would agree with that statement.

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

Hi Scott! I know this is a tad O/T and I apologise, but since you were involved in the audio remix for Supergirl, do you know why the "First Flight" music cue in the 5.1 mix of the international version (disc 1) is slightly different to the 2.0 mix of the extended edition (disc 2) and all of the previous international cuts released in Japan and the UK etc?

Following the cut where Supergirl takes to the skies (after playing around in the trees) the next 10 seconds or so of music in the 5.1 mix is taken from the re-score that Goldsmith did for the cut-down US theatrical version, complete with smaller orchestra and cheaper synths. After that the music segues back to the original version of the cue. In contrast, the 2.0 track on the extended edition features the complete original cue as Goldsmith intended, as did the Japanese laserdisc, as did the UK videcassette.

Any ideas? Ta! :-)

John

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

Hi John,
Well, you kinda answered your own question - as you know the version that went to Japan was longer and has since taken on the lable as the "International Version (BTW- the same is true for THE SWARM, another Jerry Goldsmith film, and another I worked on in getting WB to release way back when for Laser. Oh, and there's even a longer version of that film which we will probably never see. I have a pic from scene that was cut on my site. Did you know John Williams was originally scheduled to score THE SWARM - I still have the origianl WB interoffice memo stating it.) Any way the version of SUPERGIRL that played in North America was drastically cut - so too was the music. I've spoken to Ilya about this and he's pretty foggy about exactally what went on due to the amount of years that have passed and the diffeent versions. A thrid version that was released previously on DVD was called "The Director's" cut - that is untrue actually and was, and is an expanded version for Network TV - it is also edited for TV as well losing a line or two. It was common for the Salkinds to offer a longer cut of their films for Network TV so more air time could be filled, thus more commericals, thus more of profit for the Network. (Just as with the SUPERMAN films.) The original directors of these films were never consulted, and thus they disconnect themselves from these versions. It was the Salkinds who had final editorial rights, as contracted, and since it was their films they created the TV versions. The true "Director's Cut of SUPERGIRL is the "International" version - as Jennot Szwarc stated to me.
Because these versions were prepared at different times I would guess different elements were made available to them, and to save studio time which ever fit in length to a given scene was simply used. Which may make it confusing for the fans, but in the long run it better that various options were there instead of simply cutting; which would have been more noticable, not to mention horrible. (Case in point, if you have the AC-3, 5.1) single Laserdisc edition of ALIEN (Yes, another Goldsmith film) you would notice a very differnt soundtrack, soundeffects, music cues and even some dialog. At the time of release most reviews put it down complaining about the terrible choppyness of the track - what they didn't know was that it was taken from the origianl 70mm 6-track early release screening version that was shown to the press and execs a month before it was released - I know, I was there.
Yes, its not the most polished of soundtracks, but it is an alternate version and is a part of film history. So if you or anyone has it keep it. then again Riddly Scott was, in my view extremely dumb in how he treated Goldsmith throwing out most of his score. A previous release of ALIEN for home video had an alternate soundtrack of just Goldsmith's music - with alternate and unused ques. That was special.
Remember, SUPERGIRL when through a lot of changes, but in edits, and studios. WB turned down the film after they opted for it to be made. Then it went to TRISTAR COLUMBIA here in the states who no doubt wanted a shorter version of the film, hence the edits.
When materials were being researched for the previous DVD release we found them in the UK. The version released as the "Director's Cut" (TV version really) had a lable tapped on the can that read, "Do Not Touch".
Ain't ya glad we did!

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

That's very interesting, thanks! I was under the impression that there were just two clean versions of the "first flight" sequence: the original full-length version with the original music cue, and the shortened version with the abridged and re-arranged cue. The music presented on the 5.1 track is a hybrid of the two music recordings even though the sequence itself is the full-length version, but it sounds like there were a number of different combinations of versions out there!


Indeed it was! I believe we have the great Nick Redman to thank for that! :-) Now if only they could recover the master tapes, clear up the licences with Polydor etc, and get the thing out properly on CD!


Very much so! :-) To my knowledge this extended cut was only aired here in the UK once, during its very first screening on ITV (the rights have since transferred to the BBC). And even then it wasn't exactly the same as the version presented by Anchor Bay: the alley sequence was completely cut (presumably because it contained pre-watershed violence) and there was an extra scene in the school dorm where Linda and Lucy discussed boys. This scene is missing from the Anchor Bay version but can be glimpsed briefly in the accompanying documentary.

It's a damn shame that WB didn't seem interested in the wealth of possible new material that could have been included on Supergirl :-(



Anyway, sorry folks, normal Superman topic now resumed :-)

John

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

Anyway, sorry folks, normal Superman topic now resumed :-)

John[/quote]


Not just yet....
On the extras Ilya Salkind offered WB for their release of SUPERGIRL were original screen tests for the part of SUPERGIRL by different actress. This material has never been seen and would have been a very special bonus feature. Mr. Salkind also was hoping for a new second audio commentary, with me, to make a perfect pairing with the one I had previously done with the director. Ilya was unavaliable at the time when AB released their version.
Again, what most people are unaware of is that WB also had in their service all the bonus material which originally appeared on the AB release, TV Spots, Trailers and the "Making of" but due to their feelings that SUPERGIRL was simply a "Catalog" title they decided to go low key with the release.
Perhaps the thing that sickens me more is the way they used SUPERMAN muisc on the SUPERGIRL menu. That's just plain dumb - the kind of thing one would expect from a rack-jobber DVD appearing at a discount store. Reallly, why bother to go out of your way to buy up the rights if you're not going to top what has been done previous? This release could have had materials different from AB's release and thus make it at least a colletable for the fan. Disney did the same when WATCHER IN THE WOODS right returned to them. I very happy to know that two Special Editions I worked on for AB haven't been "bettered" by bigger stuidos when they got them.

And now, back to the adventures of SUPERMAN.

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

So, none of those things AND the framing is still slightly off. And yeah, I agree completely about the use of Superman music in the menu. A slap in the face of Goldsmith to be sure. Thanks for nothing there, WB! :-(

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

Well I suppose it's to be expected really - I man, how shoddy that all the menus for the Chris Reeves SUPERMAN film's are even animated! How schlock can one studio get. Personally, I can't say anything about Superman Returns since won't even bother sitting through that piece of crap to review it. I saw it once and hated it. But if WB did give it an animated menu the I suppose they only re-released the Reeves' films again to push Superman Returns. If that's the case then how disqusting is that?! What dink of a way is that to treat the Reeves films? Personally the entire handling of the SUPERMAN films was sloppy and shoddy. Where's the good taste and classy handling like MGM did with the BOND ones? Not to mention why did WB leave out some of the bonus extras from the Hi-Def versions? What's the use of each format bragging about Gigabyte space if the studios aren't going to use it?! Why tempt the consumer with false hope of seeing more, and getting more it they can't make it work with collections like the SUPERMAN films, which they know are marketable. There certainly wouldn't be hope for less films then on any Hi-def format. I know this would be the case from teh beginning having consulted with various studios in the past on various projects for the standard format release.

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

I wouldn't lean on the MGM Bond reissues too heavily as being the benchmark. The color timing on many of them is botched and incorrect.

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

After all the bother of not having the origianl SUPERMAN: THE MOVIE soundtrack no own complains now that they have it in a defected way. Fans make me sick. It isn't bad enough that so many profess to "know it all" yet don't trully know the difference between the various Dolby formats. With bickering over "maybe it will sound better in Pro-logic I or II, or worse Neo 6, WB would have saved money not doing a exchange at all since most don't even know what the hell they are listening to.
I have been placing calls to WB and left several messages (these people are tooooo important to come to the phone) for the past month yet no one of these "professionals" have had proper sense to return my call. There once was time with there were truly professional and well meaning persons who worked there, who had pride in what they put out. That time is long gone and as long as the public is ripped off by the hiring of dim witted cronies who shove fodder as PR garbage will make its way out onto the shelves and be eaten by ill educated public who willing turn out the buck for it. In the end, WB is very smart I suppose since they know what and whom they are dealing with and - and how much they can get away with as well.
First the fans yell for a mystical "Donner" cut then when it comes out their are complaints at the shoddness of what is presented. Now people want more - well, lesson learned, "Becareful what you wish for" - you got it.
What people should have been requesting is the longer edit of BOTH FILMS ( the footage seen on Network TV - then combining BOTH films into one major epic. That is want most really want. Not the venting of an snubbed director who complaints about a contract he sign years ago knowing full well he never had a final edit. On top of that we get a box (Reeve or Silver) box set missing many extras that should have been part of the sets.
If WB had listened to the origianl producer they would also have down what was planned years prior... A few year back when Anchor Bay had the rights for SUPERMAN III and it was planned to do a Special Edition. I was assigned as consultant and going to do a Audio Commentary with the Producer. Plus the a new Main title sequence was considered for production to as well as a new edit to lessen the comedic aspects of the film forced by the studio at the time. These options were made know to WB for this current release, yet they said no.
There are many issues that the comsumer just isn't aware of as to what happens in the planning and production of DVD releases. The end results can be little more than a crap shoot made by persons who don't even know the product, or even really care.
A previous poster made reference to the BOND releases not being up to snuff. Well, there will always be those who complain about a given release - sometimes out of tune with reality. I will still stand to say the BOND releases are best those movies have ever looked on home video. Plus the bonus features are generous (some more than others). There is NOTHING that well done comparing it with the SUPERMAN box sets. There is so much archival material for these films which is missing its a shame. Some will defend the newly produced material, but the BOND sets have that too. Some will say the standard DVD release don't have that room for so many extras. True - but isn't one reason there is Blu-Ray & HD-DVD? Yet there are missing bonus materials on those formats which is on the standard release. People, wake-up, you're beening ripped-off, and falling into a PR trap of gimmicky tech talk.
This is only one instance, not the only. As consumers I think we deserve more respect for what we pay for. Yes I am a reviewer, but I do purchase DVDs. I fact, because I won't cover-up, and or given in I've even been taken off of some companies for review product (Disney for one - when I put down their terrible first release of THE LITTLE MERMAIND) While most reviewer simply gushed how nice it was to see the film available on DVD I was the only one who complained how off the color were from the origianly theatrical release and past laserdisc and knew of the original artists who were up in arms over the false "restoration". I would't retract my review so I was taken off the list.
I'd also like to mention how no one has mention how one scene in the excellent version has been altered!
I would like to ask those reading this to get their friends and internet friends to really compare the SUPERMAN 2.0 exchange mix with other 2.0 films. Perhaps most just don't understand how it sould sound. True 2.0 Dolby Surround is the same. It was developed to be that way - aside from a producer's intent. SUPERMAN: THE MOVIE was never intended to have dialog placed in all speaker channels. It's a quality issue that isn't just for this film, but should be for all films. ...especially older ones which have stood the test of time and can be called "classic".

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

I.....you.....this......(SIGHHHHHHHH!)

Look Scott, you come in here telling us that we make you sick, and that the studios are screwing us over because we let them and that we have no idea what we are talking about....man, if people aren't giving you proper validity maybe it's because you have a lousy attitude.

Seriously.

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

I'm willing to bet that your messages are alot like your posts here so it's not hard to imagine why they aren't returning your calls.

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

People came down on me when I first stated that there was a problem with the soundtrack. Even without first testing, then posting, people had an opinion. Then one person even came back and stated that after taking a listen it did sound wrong (he went on to say his two cents weren't worth much.) That's what I meant. Why would I want to post, that there was a problem when there wasn't? It's that simple. People assume too much, and in the wrong way. Just like TravisR above who thinks that I deal with "professionals" in the same manner I just made my rant here. WRONG. This is why I don't usually deal with message boards - becasue there are people to post instead of think. They jump the gun just to state something - very reactionary. I just think it's weird that when a problem does comes up, and is there people don't care. I think in this case it mostly due to the fact that people will listen to the 5.1 anyway. Having the originaly 2.0 mix isn't that important. It's nice to have but not many will really watch the film with it - so it becomes a feature that's nice to have (even if it's defective) but not really needed.
Oh, BTW I recieved an email from "Caped Wonder" requesting my phone number because Mr. Michael Thau would like to speak with me. Interesting, perhaps he's doing this as per WB - hopefully this is a good thing. That would be nice.

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

Maybe you don't talk to professionals like that but I can only base my opinion off of how poorly you deal with people here.

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

I agree that there is an error in how the 2.0 mix is recorded on the disk. There's definatelly dialog bleeding into the speakers beyond the center channel. More so into the front left/right speakers than the surrounds but it's happening. The more ambient sounds there is the worse it bleeds. It's noticable in DPL, DPL2, DPL2x and Neo6 (less so in DPL and worse in the back center surrounds in Neo6). During very active surrounds there should be no dialog coming from any speakers except the center front speaker. It wasn't until Superman II I believe that they used directional cues in the audio allowing dialog to pan.

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

As I stated on the "other thread," the 2.0 track played fine in normal Pro Logic on my receiver. (My receiver doesn't have PLII or Neo6, so I can't check on those modes.) The dialogue was placed firmly in the center channel.

I can't get too outraged if something is working exactly the way it should for me.

Mark

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

The reason it will sound worse in Dolby Pro-logic II is due to the nature of how PLII works. PLII takes the limited dynamics of the surround channel and applies a psedo stereo effect, spliting the the mono rear channel and widening the dynamics making "a kind" of 5.1. Now, if you have a 6.1 or a 7.1 system a new MONO channel is made from the difference of the split surrounds and pushed into the rear. That's why the echo effect is lounder if you have a 6.1 or 7.1 system.
Regular Dolby Surround (2.0) is made up of 3 front channels. The Left and Right are stereo. Dialog is recorded in MONO so it stays in the front center. Sound difference between the front stereo, left and right is pushed into the surround. Because the front left and right are able to carry full dynamics panning betweent them is possible.
Which is why one can hear characters "leave" or walk off screen. The dialog is still recorded in MONO but panned to the given channel.

Now in my recent talk with Mr. Thau he told me they used original audio elements that were used in the 70mm 6-track presentations. I told him it might be possible that is why we are hearing what's on the disc.
Remember, most theatres in the 70's were still working with stereo systems from the 1950's when some were upgraded for Cinemascope presentations in sterophonic sound. The problem with that is they were not really compatible with the newer "Dolby System" (Which is why George Lucus eventually came along and pressed his new THX sound system to bring all theatres up todate so films could sound the same and presented in the same manner for audiences.
It's very possible that a different mix was used for SUPERMAN in these 70mm presentations to accomedate that system and a differnt speaker array. Dolby Surround or (in the home know as) Dolby Pro-logic presentations were meant for 35mm film. Prior to that the amount of stereo optical track were limited to the size of the film (hence 70mm 6-track compared to the 4 track on 35mm) The special thing about Dolby Surround it that the mix stays secure no matter what way it is shown. In other words. The mix starts out with 4 tracks of sound (Left, Center, Right and Rear.) That same print could be shown in a theatre back then that was still MONO and the sound level of each track would be even. No one channle would be lounder or than the other - kinda like old MONO TV when a movie was shown. Previous to that stereo films (from teh 50's and 60's that were not Dolby had to be re-mixed when "flattened" into MONO so they sounded right.
When I brought this up to Mr. Thau he never considered that a different mix might have been done for 70mm presentations.
One odd and revealing thing however he stated was that to his surprise they found when looking at the 70mm mix it had split surrounds, meaning stereo rears - as in the current 5.1 format! This was not the norm back then and made this a very special find. However, that was not used.
He didn't seem to think that past released versions of the film on home video were different, but admitted he had never heard the laser release. I also asked him is it possible that something happened to worsen the mix somewhere in up to the production line. I've worked on projects myself were a lot of hard work, money and time went into making a great master only to find it schmucked up by someone who tinkered around during the digital writing phase.
Mr. Thau agreed to check his disc and see if it's anything like he heard in the studio at the time, and said we would talk again.
Bottom line - it's possible that this is yet another mix of the film, for a different presentation, which doesn't make wrong, but rather is wrong for the home video application. If it was mixed for larger theaters with a differnt speaker array it would explain why it's not performing as it should, especially in the confines of a home theatre set-up.

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

Star Wars has 3 separate mixes, all with slight differences, due to the different lead time needed in print manufacturing, etc.

So the 70mm was done first, Dolby Stereo done second, and the mono mix done last. Ironically, the mono mix was the most refined and polished one, according to Lucas and co. because they had extra time to work on it, whereas the 70mm track was a little rougher.

I imagine Superman would have had to go through a similar process, and there may be three original mixes with slight differences in each.

Re: Superman Ultimate Collector's Edition, etc. Exchange Number and info

Exactly, very strange. What's even stranger is that no one thought of this. This is where one has to be a good film historian, not just a consultant. It's seems one was deeply in need here.
As I mentioned in a previous post the same was true with ALIEN.
Since my last post I contacted Ilya Salkind, the producer, and he backed me up in my theory that there was a mix made special for the 70mm prints. It was exactly as I had stated - I will pass on this info to both Mr. Thau and to my contacts at WB - it all comes down to a bad choice made from lack of research, and knowledge from the beginning. Mr. Salkind stated he wants to get involved in this also by contacting WB. I wish Mr. Salkind had won his way with WB months ago and I had been a part of this release as he wanted. It will be interesting to see how WB will handle this now.