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Some have been saying that could have been due to inherent variabilities in aligning separations used during production: https://ascmag.com/articles/filming-2001-a-space-odyssey

Oh it's quite apparent. I just feel it's more productive to respond to his sarcastic attacks on myself by addressing his concerns seriously with arguments as opposed to perpetuating his behavior.

I saw this in the fourth row on a GT sized IMAX screen, and I had to look very close to notice the wires and the stepping on the star gate (which was perceived for only one shot). Are you arguing that these, very hard to notice things, be painted out in a revisionist fashion? I suppose all the...

Oh So Price and Warners did a good job with their 4K restoration/master of 2001? It wasn't mucked up by Nolan and co like so many simply knew it would be? Well, fancy that. Saw the 4K DCP at the Pacific Science Center in Seattle, which uses a dual laser projection system on a 60ft by 80ft...

The thing is this will vary depending on many factors. As I've made clear previously, film projection has very poor ANSI (checkerboard) contrast; you've a shot of the space station floating in space, the black level will be pretty low... once the big, bright earth comes in to frame though, it...

It is indeed his opinion. But, he is a person whose words matter, and he is unequivocally denigrating the work and those involved having not even seen a properly projected new print himself (or so it seems). He seems to shift his opinion on this dependent on what some people are reporting from...

Pages ago in this thread Mr Harris, when confronted with evidence of Vitali's involvement in the new prints, claimed "I’ll not comment. Don’t believe everything that jounalists report." Upon seeing Mr Harris' more recent lambastment of this release and those involved in it, I was reminded of his...

2000:1 is the on/off contrast ratio quoted for the average D-Cinema projector under ideal conditions. Of course, many cinemas use silver screens now to make up for decreased brightness so that could change contrast ratio. Laser engine machines are also capable of a higher ratio. In any case...

??? Mr Harris saw fit to contest a claim of mine in a dismissive manner; is it improper of me to support my words, especially when they were confirmed by Mr Vitali himself directly to my face (bypassing the multiple journalistic intermediaries that Mr Harris claimed couldn't be trusted)? I...

I heard it from Mr Vitali's own lips just this last Saturday. So, given what you've said elsewhere about the new prints being "an embarrassment to all but those involved in their creation", I suppose we'll have to add Mr Vitali to the list of the damned. Unfortunate given that he is an...

2000:1 is ideal on and off, with ANSI being in the hundreds. If the film print is any indication, the black levels weren't raised.

Indeed it was a little quieter than the remixed soundtrack that has played there before... though this version hurt my ears more (I'd say it's due to the former being remasted/eqed to be more listenable at higher volume). Per the new DCP: some people at blu-ray forum have stated that the color...

Woot! You're in for a huge treat I think. The projectionist has been doing an amazing job so the print has none of the new damage that others have reported from their screenings. Let us know what you think! Oh, and keep an eye on the chess board ; )

I saw the film at the Hollywood Theatre in Portland, OR. They've been showing 70mm for several years now with excellent results (and staff a talented projectionist). In total I've seen 2001 I think twice at the Seattle Cinerama (once before they Paul Allen's print), and three times the Hollywood...

Just got back from a screening. My cinema got the original soundmix, and the print came direct from Warner Brothers. I sat in the 4th row (pretty close). Print had been played at two previous showings. Picture: -Colors seemed a bit more saturated vs the previous prints... especially more blues...

Per the 4K DCP: as I posted in the other 2001 thread: Seems to a Warner UK deal as I don't see any feature notes in the usual USA centric DCP portals.

"I just finished this 4K transfer of 2001: A Space Odyssey and did the color timing on this 70mm print they have at Cannes." - Leon Vitali

Well, if we are at it, we should definitely make sure to hang anyone who has shown a non LPP or non IBTECH print of any Kubrick film in recent times. Also should hang Vitali for improperly framing Barry Lyndon a few pixels off. Oh and that Warner's disc from 2007, which you praised to a great...

Mr Harris: I understand you're coming at this from the perspective of an archivist, and as such your criterion is much more stringent than most (and for good reason), but to suggest that a couple tears and specs on the print result in a "bastardized version" that ruins the film for new viewers...

As some one who saw this film for the first time theatrically on a print that was more beat up than the one you've described, I can assure you that's not what they will think. Related anecdote: I took my 5 & 6 year old nephew and niece to see a 35mm presentation of Secret of NIHM a while ago...

While I agree that Kubrick likely wouldn't be happy with aspects of this release, and that Nolan analog fetishist beliefs have lead him astray in a few regards, all this bashing of him seems to've gotten a little out of hand. Movie goers, critics, journalist, film buffs are all talking about...

Again, just because you use the HDR format (the PQ EOTF) doesn't mean you have to grade for the full range offered by HDR. If a studio released this, or any other film on UHD in SDR (2.4 gamma EOTF), it would be worse for it due to higher potential for banding. Same could be said for REC709...

No. It's basically the same reason that there are several scans of Star Wars floating around (one of which being 4K and sourced from two IB TECH prints); when a studio revises a work and doesn't let the public see the original version in keeping with contemporary standards of quality, certain...

Given the mucking about that Disney does with their pre CAPS animated features, the goal was to scan a relatively fade free element, like a Technicolor print, to make a high quality preservation of what the film looked like theatrically/before Disney's revisionism. This was done by a...

As a projectionist over at Film-Tech noted: "...expect all of them to wheeze back to Warner in a disastrous or semi-disastrous state. Thats simply how things are these days. It's awful, but there it is. You cant spend forty years busting unions, firing operators, forcing them to retire...

My point in linking to that video wasn't to make observations concerning color, but to show how Disney's process can degrade or erase the line work. The clip is from a scan of a 35mm IB-TECH print that was lent by its "owner" for a fee. IIRC the scan was done on an upgraded IMAGICA Imager...

That conjecture doesn't make a lot of sense as the scans for the 4K master were already being done before Nolan even saw the '99 IP. This is a passion project for Nolan and, given his status as a money maker for the studio, I imagine they did this to him as a favor... also knowing that his name...

Disney's process is so reckless it results in line-work practically disappearing on many occasions. I can *sort* of understand why they go about it the way they do; if any of you have seen the Secret of NIMH Blu-Ray* you can see that there is a LOT of dirt, fuzz, hair, debris within the...

IIRC they were saying that, when the IP was made from the o-neg in '99, the o-neg had faded a little bit. You're meaning that the o-neg, in 1999, shouldn't have been faded?

So with all this talk of Nolan imposing his artistic views on the color of the prints, are we to assume that his statements of "none of what we did was interpretive", "we were able to use Kubrick's original printer points/notes for the '99 IP", and Price's statement that the "fading [was]...