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I'll agree with whatever you say, and leave it at that...

16mm is not helpful. Resolution is not the problem. Shadow detail cannot be transplanted to an image that already has blocked details. Yes, nitrates survive on some of the films. These are (in many cases) the original studio prints. The database, or most of it, can be accessed on the UCLA...

Alberto, You’re over-thinking. I’ve examined the elements, came up with the best and most financially viable solution. It’s all garbage. Once the image is gone, along with shadow detail, end of show. I’ve said this many times. “It is what it is.” That said, there may be another possible...

I think you've picked a poor example... My comments were directed to not to you, but to Alberto_D. But to respond to your comments, the situation with films such as Forever Amber, and I've not examined the elements, but I have for several of other Fox productions of the era, is very simple...

You’re not only flogging that horse, but quoting someone who doesn’t understand the technology. Time to buy a copy, support a Twilght Time, and move on.

I think I'm out and I get pulled back in again... Forever Amber may be many things, but it is not a "restoration."

Hopefully, my final post on the subject. Mr. Hough's comments are based upon his eyes, and his personal experience with the film. His comments form a fair review of the disc, and will allow readers to get a better idea of what they will be seeing based upon expectations similar to their own...

Let's go to facts, please. All of the Fox nitrate 3-strip productions have horrific problems, with the exception of one that that survived via original masters. There is a huge difference between a poor quality Eastman Color representation of a Technicolor production, and anything derived...

Why “interpositive?” All Fox 3-Strips do not have the problem. Some are quite lovely. If you’re going to presume certain technical facts, please take care toward accuracy.

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Do keep them coming, based upon your inspection. Some have survived better than others, as the 1970s intermediate elements were produced as nothing more than running footage, or film fodder, for lab billing. It came down to a matter of luck. Having worked on some of these, creating the work...

Otto Preminger's 1947 Technicolor opus, Forever Amber, which was subjected to censorship cuts and then three decades later, destruction of the Fox Technicolor library, arrives via Twilight Time, and gives us an inkling -- and not much more -- of the original beauty of the production. One can...