Jean-Pierre Gutzeit
Grip
- Joined
- May 31, 2018
- Messages
- 18
- Real Name
- Jean-Pierre Gutzeit
Unfortunately, I just looked into the Blu ray from 2018 and after a quick run the new edition thrown into the garbage bin.
Of course the improvement of the sound, the clarity of the string bass for example in the Zarathustra fanfare is impressive. A considerable achievement is the improvement of the at that time problematic front projection on the faulty 3m screens, whereby apparently by the setting of windows the contrast now was improved. The sharpness has increased compared to the Blu ray version of 2007 and the disc runs at a high data rate. Of which "65mm elements" was scanned, I could not say. Warner had made confusing and contradictory statements about the original negative when the 70mm version of Mr. Nolan was launched in May. On the one hand, Nolan said that the original negative was "not touched". Other allegations report that for this version of the preparation, the negative was cleaned and repaired "for months". Further information refers to the fact that on the one hand a 65mm-Interpositiv of 1997 and on the other hand an unused (??) 65mm-Interpositiv of 1999 used that the legendary director gave shortly before his death in order.
In fact, the Nolan version contains scenes from the Interpositive of 1997, respectivelly printed from the 65mm Internegative made in the end from 2000 to the beginning of February 2001, which started the 70mm revival 17 years ago. On the other hand, you can see some improved scenes in the Nolan version from 2018, apparently from another interpositiv.
The overall impression was catastrophic: at the same time, one could observe a dripping of the details in the shadows and the details in the lights, comparable to reversal prints for the TV-scan in the 1970s. The colors were desaturated, the granularity of the double Dups unmistakable, the new light determination of the new 65mm Internegative struggled desperately to regain white-neutral surfaces of the spaceships against the blue discoloration of 2007 Blu ray, but failed completely.
Warner's Ned Price reports that the original negative is "in good condition according to its age", and that the slight color fading can be compensated for reprinting. That's right, you can compensate for fading in the analog printing to a small extent, but the new 70mm print has delivered on this promise compared to the perfect 70mm premieres by no means. It was surprising that the small control screens of the spaceships in the 70mm version of Mr. Nolan were retouched from the scratches of the 16mm rear projection. Fully analog? No.
Questions and suggestions for improvements made in May to Mr. Price and Mr. Vitali for improvements in the HD Home Cinema version from October onwards were not answered.
The latest Blu ray Edition differs once again from the Nolan version, but resembles it in the tendency of color loss and saturation. Thin black, clearly too bright, unbalanced and overloaded with new annoyances.
For the first time in this clarity, the ringing of blue shadows on hard contrast transitions occurs. It recalls that in the 1960s attempts were made to prevent dup negatives from OCNs in order to avoid atria. Apparently also the symptom of a defective halo-back layer in the processing of original negativs at Metrocolor?
The blue MGM logo at the beginning of the film is already drowned dark, followed by a much too bright and smoky eclipse with the movie title. The scene in the centrifuge with Gary Lockwood is also striking. the scene with the sterwardess and the floating pen. And in the end, the entire hotel scene shows itself in a single sinister disaster. Colorless the paintings in the background, and the once blue coat of aged Keir Dullea has turned into a dull black. Followed by a monolith (Dup scene), which again looks like cut-out of blue edges, the film ends with a Astral fetus hovering across the screen in brown sauce (rather than subtle blue).
Of course, like the old Blu ray from 2007, there are many bugs, for example the green illumination errors towards the edge of the picture. Partly also to green or blue colors in the clearly white spaceships. But this version looked comparatively cinematic and closer to the premiere prints than the now responsible of Mr. Nolan and Mr. Vitali versions that only make a farce.
Looking at the transfers of the large format productions SPARTACUS, MY FAIR LADY. THE TEN COMMANDMENTS or BARAKA, after all, there is evidence that one should have resorted to more competent agents.
2001: A SPACE ODYSSEY is now a lost movie...
Of course the improvement of the sound, the clarity of the string bass for example in the Zarathustra fanfare is impressive. A considerable achievement is the improvement of the at that time problematic front projection on the faulty 3m screens, whereby apparently by the setting of windows the contrast now was improved. The sharpness has increased compared to the Blu ray version of 2007 and the disc runs at a high data rate. Of which "65mm elements" was scanned, I could not say. Warner had made confusing and contradictory statements about the original negative when the 70mm version of Mr. Nolan was launched in May. On the one hand, Nolan said that the original negative was "not touched". Other allegations report that for this version of the preparation, the negative was cleaned and repaired "for months". Further information refers to the fact that on the one hand a 65mm-Interpositiv of 1997 and on the other hand an unused (??) 65mm-Interpositiv of 1999 used that the legendary director gave shortly before his death in order.
In fact, the Nolan version contains scenes from the Interpositive of 1997, respectivelly printed from the 65mm Internegative made in the end from 2000 to the beginning of February 2001, which started the 70mm revival 17 years ago. On the other hand, you can see some improved scenes in the Nolan version from 2018, apparently from another interpositiv.
The overall impression was catastrophic: at the same time, one could observe a dripping of the details in the shadows and the details in the lights, comparable to reversal prints for the TV-scan in the 1970s. The colors were desaturated, the granularity of the double Dups unmistakable, the new light determination of the new 65mm Internegative struggled desperately to regain white-neutral surfaces of the spaceships against the blue discoloration of 2007 Blu ray, but failed completely.
Warner's Ned Price reports that the original negative is "in good condition according to its age", and that the slight color fading can be compensated for reprinting. That's right, you can compensate for fading in the analog printing to a small extent, but the new 70mm print has delivered on this promise compared to the perfect 70mm premieres by no means. It was surprising that the small control screens of the spaceships in the 70mm version of Mr. Nolan were retouched from the scratches of the 16mm rear projection. Fully analog? No.
Questions and suggestions for improvements made in May to Mr. Price and Mr. Vitali for improvements in the HD Home Cinema version from October onwards were not answered.
The latest Blu ray Edition differs once again from the Nolan version, but resembles it in the tendency of color loss and saturation. Thin black, clearly too bright, unbalanced and overloaded with new annoyances.
For the first time in this clarity, the ringing of blue shadows on hard contrast transitions occurs. It recalls that in the 1960s attempts were made to prevent dup negatives from OCNs in order to avoid atria. Apparently also the symptom of a defective halo-back layer in the processing of original negativs at Metrocolor?
The blue MGM logo at the beginning of the film is already drowned dark, followed by a much too bright and smoky eclipse with the movie title. The scene in the centrifuge with Gary Lockwood is also striking. the scene with the sterwardess and the floating pen. And in the end, the entire hotel scene shows itself in a single sinister disaster. Colorless the paintings in the background, and the once blue coat of aged Keir Dullea has turned into a dull black. Followed by a monolith (Dup scene), which again looks like cut-out of blue edges, the film ends with a Astral fetus hovering across the screen in brown sauce (rather than subtle blue).
Of course, like the old Blu ray from 2007, there are many bugs, for example the green illumination errors towards the edge of the picture. Partly also to green or blue colors in the clearly white spaceships. But this version looked comparatively cinematic and closer to the premiere prints than the now responsible of Mr. Nolan and Mr. Vitali versions that only make a farce.
Looking at the transfers of the large format productions SPARTACUS, MY FAIR LADY. THE TEN COMMANDMENTS or BARAKA, after all, there is evidence that one should have resorted to more competent agents.
2001: A SPACE ODYSSEY is now a lost movie...
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