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Official African Queen Paramount Question Thread

post #1 of 23
Thread Starter 
I have a few people from Paramount involved in the release of the African Queen who are willing to answer some questions about the release (including restoration).  If you have a question list it here and I will try to get it to the right person for an answer.

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post #2 of 23
Thanks, Adam.

One question I'd have is why there seems to be no lossless audio track on the Blu-ray release of The African Queen.

There are those who say lossless isn't necessary when dealing with mono soundtracks, but my understanding is that lossless amounts to the best available fidelity presentation of an audio track whether it's mono, stereo, or surround.

There must be enough room on the disc for a lossless track? 
post #3 of 23
Adam,

I would love to know if there was a reason that the R2 Cardiff commentary could not be included.

Thanks,

Jay
post #4 of 23
Quote:
Originally Posted by Mike Frezon View Post

Thanks, Adam.

One question I'd have is why there seems to be no lossless audio track on the Blu-ray release of The African Queen.

There are those who say lossless isn't necessary when dealing with mono soundtracks, but my understanding is that lossless amounts to the best available fidelity presentation of an audio track whether it's mono, stereo, or surround.

There must be enough room on the disc for a lossless track? 
 

I second that question.  I've already sent an e-mail to PHE.  I was going to buy the BD, but will now probably avoid it altogether, or wait until it drops in price.  $27.49 for a BD w/ low bit-rate lossy DD?  No thanks.

Of course, I won't turn my nose up if I win a copy in the HTF contest!

Doug
post #5 of 23
My question is does this restoration have anything to do with Warner Bros' Ultra-Resolution technique? Judging from the screencaps at DVDBeaver the result looks pretty good, especially the nice registration. This very much resembles Warner's Ultra-Rez restoration and Paramount did used this technique before to help with Chinatown as far as I remembered.
post #6 of 23
Quote:
Originally Posted by Jay*W View Post

Adam,

I would love to know if there was a reason that the R2 Cardiff commentary could not be included.

Thanks,

Jay

Seconded. I'd also like to know if there are any other gems that resulted from Cardiff's home video participation, besides the commentary and his technical advice during the recent restoration.
post #7 of 23
I have been wondering why it took so long for this to be released on something other then vhs.
post #8 of 23
1.  What is the ownership trail?  I understand the Paramount does not control all of the rights, but I am guessing it is international.
2.  Was the marrying of the three technicolor negatives the most time consuming part of the process and exactly what did in entail?
3.  If the three negatives were not used, what generation print or negative did they use.

Please give them my thanks for releasing this and doing such an excellent job.  I sincerely wish them huge success on this release in hopes it will bring other long awaited titles to DVD and Blu-ray (Samson & Delilah).
post #9 of 23
I'll second the commentary question.  A film of this stature really deserves a commentary track in my opinion.  The Cardiff commentary already exists, and there are no shortage of Bogart, Hepburn, & Huston biographers that I'm sure would have jumped at the opportunity to record a commentary.  It's not going to stop me from picking up this release, but it is a HUGE disappointment for me.

I hope that the documentary is an impressive one.
post #10 of 23
Thread Starter 
OK.  I submitted the list.  Give me a few days to dig up some answers for you guys.
post #11 of 23
Thread Starter 
OK, I got some answers from Ron Smith VP of restoration at Paramount.  Still working on the others:

Quote:
My question is does this restoration have anything to do with Warner Bros' Ultra-Resolution technique? Judging from the screencaps at DVDBeaver the result looks pretty good, especially the nice registration. This very much resembles Warner's Ultra-Rez restoration and Paramount did used this technique before to help with Chinatown as far as I remembered.
Yes, the Ultra-Res Recombining was used to register the film. It combines two or more film records (most often YCMs). And yes, certain scenes in Chinatown are YCM re-combines.
 
So basically, the original three-strip camera negatives of The African Queen were scanned at Cinesite in the UK (4K 16 bit) and recombined at Warner MPI in Burbank. Jan Yarbrough at MPI was the colorist/guru and the sound was restored by the amazing John Polito at Audio Mechanics.

Quote:
I'd also like to know if there are any other gems that resulted from Cardiff's home video participation, besides the commentary and his technical advice during the recent restoration.
 
Cardiff’s comments led us toward a better understanding of how the film was put together, what time of day certain shots were supposed to depict, and that the film should have a warm tone – but not too pretty.  He also claimed that the riverbank bug infestation was an effect that he did in camera (!) with tiny feathers.

Quote:
1.  What is the ownership trail?  I understand the Paramount does not control all of the rights, but I am guessing it is international.

Rather than get into the intricate complexities of title ownership and licensing, which I don’t even fully understand, I can say that the film was not held in U.S. - which made a stateside restoration unusually challenging. The film was made and financed outside the U.S. and outside the studio system. We are just fortunate to have her back.
post #12 of 23
Awesome information, Adam.  Thanks!

Hope you get an answer on the audio question since it might shed some light on the debate in RAH's thread on TAQ. 
post #13 of 23
Thread Starter 
Quote:
One question I'd have is why there seems to be no lossless audio track on the Blu-ray release of The African Queen.

Sure to cause some controversy, here is the answer:

The African Queen is presented with its original English mono audio track encoded at 224kbps Dolby Digital.  It was encoded at a higher bit rate (224 vs. 192) than most other classic titles and has plenty of space for peaks encoded at 224kbps to cover the relative static dynamics of its range audio. Just to give this context, you wouldn’t construct a 100 gallon tank for 5 gallons of gas, there is no benefit in doing so and a higher bit rate ceiling provides zero benefits to the audio experience.
post #14 of 23
Hmmm.  That doesn't really answer the question for me.  I'm inferring from the answer that they think there's not much more in the original audio that would benefit from a higher bitrate, but did they actually test lossless vs. DD 224 vs. DD higher bitrate?  I bet they just assumed.

Doug
post #15 of 23
I'm curious to hear about how the restoration team dealt with the opticals, the jittery stock footage of jungle animals, and the night scenes.
post #16 of 23
Quote:
Originally Posted by Doug Otte View Post

Hmmm.  That doesn't really answer the question for me.  I'm inferring from the answer that they think there's not much more in the original audio that would benefit from a higher bitrate, but did they actually test lossless vs. DD 224 vs. DD higher bitrate?  I bet they just assumed.

Doug

I don't believe they would spend so much time, energy and money to do the picture restoration correctly, and then hardly make an effort for the audio.
post #17 of 23
Not a question, but a big THANK YOU to HTF & Paramount for the contest!!
Got home from a crappy day at work to find a nice little package.
Have a busy weekend ahead, but I hope to find some time to enjoy this great film on Blu real soon!
:)
post #18 of 23
Thread Starter 
No problem Mike!  I passed along your thanks to Paramount as well.  Thanks for entering and enjoy the film!
post #19 of 23
Echoing Mike's sentiment above, a belated "thank you" from me as well to HTF and Paramount for organizing this fun contest.  I received my copy in the mail last week and wanted to convey my sincerest appreciation and gratitude for adding this title to my Blu-ray collection.  Thank you thank you thank you!


With warmest regards,

Mark

post #20 of 23
Thread Starter 
No problem Mark enjoy!
post #21 of 23
Quote:
Originally Posted by Adam Gregorich View Post

I have a few people from Paramount involved in the release of the African Queen who are willing to answer some questions about the release (including restoration).  If you have a question list it here and I will try to get it to the right person for an answer.

Here's a link on the restoration process, an Adobe flash player file; sadly, this video was not included in the Blu-ray of African Queen:

http://www.movieweb.com/dvd/DVNdiSOUax28QV/exclusive-restoring-the-african-queen

[From MovieWeb]
Quote:
In this feature, Martin Scorsese, Nicholas Meyer, Paramount Pictures Exec VP of Worldwide Technical Services Chris Carey, Paramount Pictures VP of Restoration Ron Smith and more discuss the importance and process of restoring The African Queen.

Adam, I didn't post this on the My Fair Lady thread, but for anyone who's interested, I find this informative on how such work is done, although the issues with African Queen are unique, in some respects. I wish an Industrial Light & Magic reconstruction in CGI had been used on the lousy "process", i.e., blue screen, shots but c'est la vie! Pricey, of course, but I suspect John Huston would have agreed if something could be done to make the shots look better and not stand out as not so great special effects. I don't know whey they didn't use front or rear projection, which would have looked better, I suspect.
post #22 of 23

I somehow missed this thread before and just read it through.  One thing that looks like it went unanswered is why no commentary...ESPECIALLY given the existence of Jack Cardiff's, of all people.  When I learned about that last year I immediately ordered the UK DVD, and I really do not mind having that sitting alongside this beautiful Blu-ray.  Still, I couldn't help but wonder.

post #23 of 23

The African Queen was made by British company, Romulus(Romulus & Remus) & Horizon Pictures. Romulus was controlled by John M Woolf who is a member of the Woolf(CM Woolf) family who go back to the pioneer days of Gaumont-British. Some Romulus 50s films, like Jose Ferrer's Moulin Rouge, involved MGM and were in the early MGM TV packages tightly controlled by MGM directly to TV stations, and late come to TV screenings of their archive. Most of the film was made at Shepperton Studios near London and in various parts of Africa but some scenes were filmed in LA, Arcadia & Chatsworth all around LA.

 

The cinematographer Jack Cardiff had a long and fruitful life and he dedicated a lot of it to Technicolor films in & around UK and did some directing. His autobiography is a great and easy read. Worth hunting out. 

 

Warner Bros, apparently, did the major restoration work on this film and taking this into account perhaps those titles were are currently having Blu Ray restoration arguments about might have been better done there also, whatever the cost. At least for MFL which they produced and got back for the DVD versions. 

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