- Joined
- Feb 8, 1999
- Messages
- 18,314
- Real Name
- Robert Harris
Now that I've received a BD copy of Bram Stoker's Dracula, and have spent quality time with it, my immediate reaction is that finally I have a high definition (BD) version of a film that I've always enjoyed.
This is somewhat tempered, however, by the public reaction which has been coming from any number of directions. And these reactions, commentaries and reviews have virtually all been wrong.
Nothing that we're discussing here is opinion. Something either correctly brings a film to video, or it does not. This is the first time that I've been totally happy with Dracula on video.
My happiness is however, not the point.
Sony's mastering staff is happy. Zoetrope's people are happy. And they should be. They have jointly worked to see that this release is as perfect as possible in recreating the look of the film as it was seen in it's original release, and that effort has been successful.
They have not accomplished this by some seat-of-the-pants, I've got a curtain in the attic, "Let's put on a show" ethic.
Nor have they guessed.
They've screened the original approved answer print and have meticulously matched the HD master to that print.
This is done in the same way that one would restore a film.
Earlier versions of FFC's Dracula were properly tuned for earlier video systems, that among other problems turned black into video noise. For that reason they were never what they should have been, as electronic goals needed to be met. To put it simply, the ability of the reproducing medium was not yet in tune with the art to be reproduced. They always came as closely as they could. And understanding the limitations of the medium, were approved. There was no way around this.
That is the reason why earlier video releases don't matter.
One of the extraordinary points of the high definition medium is that finally we can reproduce films to look as they did on film.
The new transfer of Dracula is a magnificent work, which along with the audio with it's heavy lows, delicate highs and aural details -- the sound of mice walking quickly across a beam -- is miraculous to behold on home video.
Dracula is a dark film. It has always been a dark film.
It is also a film created not by digital pyrotechnics, but rather by analogue effects and cinematic slight of hand. This is an old fashioned horror film. Print it too bright and the magic is revealed; the horror disappears; the story vanishes, and one sees through the magic.
The color in this release finally matches that of the original prints -- controlled, colorful when necessary -- but dark. The blacks on this release work well, and shadow detail, when needed is at hand.
Resolution is beautiful. Flesh tones, for both the living as well as the dead, replicate the original tones of the first 35mm prints. Dupe generations are less finely resolved, but work as they did originally.
So here's the bottom line.
Not only is there nothing wrong with this release, it is one of the most perfect to come from the Sony vaults. Those of you who know of me, are aware that Sony and I don't always agree. But when they do something correctly, they are to be honored for their efforts. And this time, they are to be honored.
Everything here is correct, handled with precision, professionalism and a obvious love for the art that is our cinema.
Bram Stoker's Dracula, from FFC and Sony is Extremely Highly Recommended.
RAH
This is somewhat tempered, however, by the public reaction which has been coming from any number of directions. And these reactions, commentaries and reviews have virtually all been wrong.
Nothing that we're discussing here is opinion. Something either correctly brings a film to video, or it does not. This is the first time that I've been totally happy with Dracula on video.
My happiness is however, not the point.
Sony's mastering staff is happy. Zoetrope's people are happy. And they should be. They have jointly worked to see that this release is as perfect as possible in recreating the look of the film as it was seen in it's original release, and that effort has been successful.
They have not accomplished this by some seat-of-the-pants, I've got a curtain in the attic, "Let's put on a show" ethic.
Nor have they guessed.
They've screened the original approved answer print and have meticulously matched the HD master to that print.
This is done in the same way that one would restore a film.
Earlier versions of FFC's Dracula were properly tuned for earlier video systems, that among other problems turned black into video noise. For that reason they were never what they should have been, as electronic goals needed to be met. To put it simply, the ability of the reproducing medium was not yet in tune with the art to be reproduced. They always came as closely as they could. And understanding the limitations of the medium, were approved. There was no way around this.
That is the reason why earlier video releases don't matter.
One of the extraordinary points of the high definition medium is that finally we can reproduce films to look as they did on film.
The new transfer of Dracula is a magnificent work, which along with the audio with it's heavy lows, delicate highs and aural details -- the sound of mice walking quickly across a beam -- is miraculous to behold on home video.
Dracula is a dark film. It has always been a dark film.
It is also a film created not by digital pyrotechnics, but rather by analogue effects and cinematic slight of hand. This is an old fashioned horror film. Print it too bright and the magic is revealed; the horror disappears; the story vanishes, and one sees through the magic.
The color in this release finally matches that of the original prints -- controlled, colorful when necessary -- but dark. The blacks on this release work well, and shadow detail, when needed is at hand.
Resolution is beautiful. Flesh tones, for both the living as well as the dead, replicate the original tones of the first 35mm prints. Dupe generations are less finely resolved, but work as they did originally.
So here's the bottom line.
Not only is there nothing wrong with this release, it is one of the most perfect to come from the Sony vaults. Those of you who know of me, are aware that Sony and I don't always agree. But when they do something correctly, they are to be honored for their efforts. And this time, they are to be honored.
Everything here is correct, handled with precision, professionalism and a obvious love for the art that is our cinema.
Bram Stoker's Dracula, from FFC and Sony is Extremely Highly Recommended.
RAH