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Not a problem, Andrew. Happy things worked out.

I see what you mean. If one clicks on “continue,” it doesn’t. I have many of my early reviews backed up on a RAID, but then I neglect to add newer ones. There was one point years ago, as I recall, that much data was lost during a software changeover.

I presume the 4k DCPs of the correct versions are marked DO NOT USE!

The stock footage optical re entry to Vegas.

No one owes me an apology. My company was hired to do a job, which we did to the best of our capability under the conditions that existed both technically, and at the studio archive in 2007. We followed not only best archival practices, but directives as offered by both Mr. Coppola and Mr...

It’s not going to affect your pug’s happiness, Ron.

the content of a shot was changed in the welcome to Vegas optical, so that a cleaner shot could be used. you don’t do that.

How do you feel about the alternate shot?

Same extraordinary film. Very different, and incorrect: Color palette; Densities; Black levels; White levels; Shadow detail; Grain structure; and a bit of incorrect content.

I hate the new 4k, as well as the new Blu.

I’ve been looking forward to the series. Thank you!

I can tell you. It would faithfully represent the film, but many people with no background in the film’s history, would complain about the color being wrong.

AFAIK, that’s not the case.

No need to either amend or keep silent. It’s an honest discussion, and your original feelings - I’ve not read your new draft - are in sync with the majority of viewers. I’m here solely discussing tech attributes, and your opinions should stand on their own. Please don’t make changes on my...

Nice review as to history and background. Just as a point of purely technical information - facts, not opinions - once Paramount removed the organic grain structure of the film, added digital anomalies, modified Mr. Willis’ color, densities, black (and white) levels, and then made content...