- Joined
- Feb 8, 1999
- Messages
- 18,407
- Real Name
- Robert Harris
How many people do you know, who would take on a huge project, knowing that with one-third the effort, and a far lower cost, they could reach very close to the 95th percentile in quality?
I can count them on the fingers of one hand, and have fingers left over.
Most of you probably understand that I'm writing this from a unique perspective, having worked with virtually the entire cast and crew, and having examined, and worked with every frame of this film -- all 320,000 of them.
David Lean used to joke that while it took Jim Painten and me, and our crew 26 months to put Lawrence back together again, it only took him 16 to make it. I occasionally don't see the humor in that.
About ten years ago, Sony made a transfer (2k) based upon one of our 65mm interpositives, as the second try at a new series of home videos and for broadcast, in an effort to improve the image. While it was better, especially at 480i, when Mr. Crisp and I examined it a few years ago, along with colorist Scott Ostrowsky, it had far too many problems to be used as the basis of the Blu-ray that we desired to put into the marketplace.
At that point, it was an absolute that a 65mm element needed to be scanned.
But which one?
Knowing the Pandora's Box that would be opened by going back to the mix of OCN and dupe negative that we had created in 1988, I advised working with our first IP. The second had additional dupe shots. The original negative was far too worn, scratched, torn and filled with detritus, to yield a viable image at a cost that the studio might consider bearing.
But there was something else to consider and it only involved Blu-ray tangentially.
Asset Protection. The ultimate protection of the original elements for the future. And we both agreed that for that purpose, our cut negative was the way to proceed.
What some of you, who may not be positioned within the corporate world, may not immediately realize, is that moving forward with a project of this immensity, doing it toward the concept of Asset Protection, and achieving the hundredth percentile, as opposed to the ninety-fifth, could ultimately be job-affecting.
When Mr. Crisp informed me that he intended to move forward with the OCN, I was both thrilled and concerned. Thrilled that it would have a chance to go through the centuries in it's finest possible form, and yet concerned that it might not make it through the scanner in one piece.
From day one, the position of Mr. Crisp and studio, inclusive of Colorworks, was that nothing less than perfection would be accepted.
Scanning in 8k at Foto-Kem yielded not only an huge file image, but one that was equally as unforgiving in terms of problems. The clean-up job, handled by a number of different vendors, was as immense of the file size.
As time passed, having seen early tests, interim color, and then almost final results, I knew that something special was being created.
Having seen the final image in 4k at Lincoln Center, I knew that the miracle had been accomplished.
Today, with the arrival of "the big box," I can tell you that the miracle has been down-rezzed to Blu-ray proportions with perfection. The 88 page book, which comes with the Limited Edition box has been superbly produced, in line with the quality of the film and the restoration(s). The CD, which includes new tracks, and the 70mm frame, which has been beautifully mounted only add to the final effect. I've not yet looked at the disc of additional extras, but I have seen the extended Balcony Scene previously. That scene is a game changer, in the same way that Kong nibbling on natives and gently removing Fay Wray's clothing affects King Kong. It changes the film.
As to specifics, image quality in terms of overall resolution is other-worldly. Color is dead-on perfect. Shadow detail, superb, along with image steadiness. Grain structure properly represents the film elements.
The audio properly represents the original 4-track mix, and has been gently cleansed of problems, such as the original "3" pop as we move from main titles to reel 1A proper.
At the end of the day, I'm left thinking Connolly hides, Wilton carpet, and smiles on the faces of Sir David, of Freddie Young, and the entire cast and crew behind this film.
David Lean was not an easy man to please. Everything had to be perfect.
And I can tell you, as an absolute, that he would be very, very pleased, were he able to place this tiny disc in a Blu-ray player that he never had the opportunity to see.
Image - 6 (out of 5)
Audio - 5 (out of 5)
Extremely Highly Recommended.
To use a phrase spoken by Gene Siskel and Roger Ebert in 1989. "Two thumbs up, and they couldn't be held higher!"
As a final note, when we opened the film in London at the Marble Arch in May of 1989, Freddie and his camera crew took me aside and offered that "You're part of Lawrence now..."
I can now offer the same to Mr. Crisp, along with a hearty, "Well met, Sir!"
RAH
I can count them on the fingers of one hand, and have fingers left over.
Most of you probably understand that I'm writing this from a unique perspective, having worked with virtually the entire cast and crew, and having examined, and worked with every frame of this film -- all 320,000 of them.
David Lean used to joke that while it took Jim Painten and me, and our crew 26 months to put Lawrence back together again, it only took him 16 to make it. I occasionally don't see the humor in that.
About ten years ago, Sony made a transfer (2k) based upon one of our 65mm interpositives, as the second try at a new series of home videos and for broadcast, in an effort to improve the image. While it was better, especially at 480i, when Mr. Crisp and I examined it a few years ago, along with colorist Scott Ostrowsky, it had far too many problems to be used as the basis of the Blu-ray that we desired to put into the marketplace.
At that point, it was an absolute that a 65mm element needed to be scanned.
But which one?
Knowing the Pandora's Box that would be opened by going back to the mix of OCN and dupe negative that we had created in 1988, I advised working with our first IP. The second had additional dupe shots. The original negative was far too worn, scratched, torn and filled with detritus, to yield a viable image at a cost that the studio might consider bearing.
But there was something else to consider and it only involved Blu-ray tangentially.
Asset Protection. The ultimate protection of the original elements for the future. And we both agreed that for that purpose, our cut negative was the way to proceed.
What some of you, who may not be positioned within the corporate world, may not immediately realize, is that moving forward with a project of this immensity, doing it toward the concept of Asset Protection, and achieving the hundredth percentile, as opposed to the ninety-fifth, could ultimately be job-affecting.
When Mr. Crisp informed me that he intended to move forward with the OCN, I was both thrilled and concerned. Thrilled that it would have a chance to go through the centuries in it's finest possible form, and yet concerned that it might not make it through the scanner in one piece.
From day one, the position of Mr. Crisp and studio, inclusive of Colorworks, was that nothing less than perfection would be accepted.
Scanning in 8k at Foto-Kem yielded not only an huge file image, but one that was equally as unforgiving in terms of problems. The clean-up job, handled by a number of different vendors, was as immense of the file size.
As time passed, having seen early tests, interim color, and then almost final results, I knew that something special was being created.
Having seen the final image in 4k at Lincoln Center, I knew that the miracle had been accomplished.
Today, with the arrival of "the big box," I can tell you that the miracle has been down-rezzed to Blu-ray proportions with perfection. The 88 page book, which comes with the Limited Edition box has been superbly produced, in line with the quality of the film and the restoration(s). The CD, which includes new tracks, and the 70mm frame, which has been beautifully mounted only add to the final effect. I've not yet looked at the disc of additional extras, but I have seen the extended Balcony Scene previously. That scene is a game changer, in the same way that Kong nibbling on natives and gently removing Fay Wray's clothing affects King Kong. It changes the film.
As to specifics, image quality in terms of overall resolution is other-worldly. Color is dead-on perfect. Shadow detail, superb, along with image steadiness. Grain structure properly represents the film elements.
The audio properly represents the original 4-track mix, and has been gently cleansed of problems, such as the original "3" pop as we move from main titles to reel 1A proper.
At the end of the day, I'm left thinking Connolly hides, Wilton carpet, and smiles on the faces of Sir David, of Freddie Young, and the entire cast and crew behind this film.
David Lean was not an easy man to please. Everything had to be perfect.
And I can tell you, as an absolute, that he would be very, very pleased, were he able to place this tiny disc in a Blu-ray player that he never had the opportunity to see.
Image - 6 (out of 5)
Audio - 5 (out of 5)
Extremely Highly Recommended.
To use a phrase spoken by Gene Siskel and Roger Ebert in 1989. "Two thumbs up, and they couldn't be held higher!"
As a final note, when we opened the film in London at the Marble Arch in May of 1989, Freddie and his camera crew took me aside and offered that "You're part of Lawrence now..."
I can now offer the same to Mr. Crisp, along with a hearty, "Well met, Sir!"
RAH
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