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...I do not know how someone could say this who has actually listened to the track. It is dynamically flat. I described it more graphically in post #151 in this thread, which I won't repeat. This can happen a number of ways, inclusive of purposely adding compression in anticipation of limited...

How could they be "known" in the absence of anything but heavily compressed tracks on prints? In the absence of any source that acurately represents the levels in the final mix, all that is really known is what surviving people involved remember and what is in the notes mentioned above. Regards,

One man's "balanced" is another man's "dynamic range compressed to oblivion". I have heard complaints about the remix relating to the relative levels of music, dialog, and effects not being correct in relation to each other. In particular, setting aside the new foley, I have heard people say...

They are not public domain despite what the Laserlight and Madacy editions may suggest. The copyrights for these films were asserted by their owner (Carlton) via the GATT accord in 1997. http://www.copyright.gov/gatt.html Regards,

I don't think TCM in the US has a hi-def or any kind of 16:9 channel. They show most, but not all, movies in their appropriate aspect ratio, presumably whenever they have a broadcast master available to do so. Regards,

The key sequence for Saboteur has to be the Statue of Liberty confrontation. I seem to remember Universal Studios still incorporating that into their tour/exhibits 15 years ago or so. Regards,