I'm posting this, not in order to stir up any kind of argument, but simply to set the record straight on a few things.
In the (now closed) thread on the Arrow release of The Fury, I said that despite ongoing speculation (presented as fact) on what was or was not done during the transfer of the film to disc, only one man really knew what was done and why - partiuclarly in regard to the night scenes - and that was the inestimable James White, who oversaw the process. This is he, quoted from another forum:
The pushed film look of the night scenes in question appeared to me to be to be directly linked to the element transferred by Fox for their own master (and the source of TT's disc), produced at least five years ago, which would have been the interpositive or internegative, a 2nd or 3rd generation element respectively. The settings that made these scenes stick out in this overly brightened manner were almost certainly baked into the element itself, and therefore one wouldn't have much choice but to transfer these scenes other than how they were printed.But I had the good fortune to be working from the original negative, the one and only first generation element for THE FURY, and this material demonstrated no such boosting. Instead the film exhibited good, consistent and for the most part, natural, night for night cinematography from shot to shot. Not being hamstrung by what appeared to be a rather crudely processed 2nd or 3rd generation element, we were able to retain the look of how the film was shot and indeed how it appeared to be intended to look. On our master blacks appear black, highlights appear bright but not burnt out, and colour, detail and grain haven't suffered as a result of forced lab processing.To match the overly bright and noisy grading of the old Fox transfer and TT release, we would have had to manipulate the images far more aggressively, and as a result, black levels, flesh tones, detail and grain would all have suffered, as they clearly do in the old master. Doing this would also make these scenes stick out like a sore thumb compared to the consistently high quality of the images in the whole of the film.I don't accept descriptions of the night scenes as we've graded them as so dark that "you can barely make out Mr Douglas in the scene", which is pure hyperbole. I can also put to rest the charge that we darkened the scenes or brought up the contrast significantly to disguise grain or noise, as this is something we didn't do - and wouldn't do - either. The decisions we made in grading were always done with reference to older print materials, but were also done in service to the original elements, and what they would actually allow without exactly the kind of manipulations we're accused of doing.Did I made a judgement call in my grading of THE FURY? Of course I did, as does anyone overseeing this kind of work, which often involves thousands of similar judgement calls throughout the workflow process. The point is that you do the best you can by referring to historical representation and the original materials, which can be a bit of a balancing act at times. Sometimes this involves making unobtrusive alterations where improvement was previously impossible, due to the limits of what older technology could achieve. Going from the negative allowed us the benefit of making many such improvements, from restoring the original colour spectrum (including natural flesh tones, pure blacks and highlights), retaining the original grain structure and the extensive details therein, and as one review as pointed out (Mondo Digital), adjusting for the correctly centred framing of the compositions. The images appear sharp, untreated and natural, and there have been no manipulations of any kind to falsely boost details, noise, sharpness, etc. I wouldn't call any of these decisions "revisionism", but rather me doing my job in service to the film.Were we saddled with the same element utilised for the creation of Fox's old master, we would have likely ended up with something very similar to what Twilight Time released (minus the sharpness/aperture correction settings that were an inherent part of the older transfer process). As it stands I don't have a bad word to say about that release, as Twilight Time simply did the best with what they were given. But Arrow made the decision to go the extra mile with THE FURY, and I think the quality we were able to achieve with our master justifies that decision.