willyTass
Supporting Actor
- Joined
- Sep 9, 2005
- Messages
- 994
yes , its subtle
To answer your question, the colour on the screencaps looks exactly the same as those on my LED TV screen when playing the Blu-ray. I have no idea if the colours exactly match those of the original prints but the disc looks fine to me. Comparing the Blu-ray to the Fox DVD, the colours on the DVD seem to me to be very similar but more muted; less vibrant.willyTass said:excuse my ignorance as i lack the technical prowess of others here
its just that on my copies of
Remastered The terminator
The great Escape
Wild river (all Fox)
what im seeing on my ISF calibrated Kuro (the Teal tint) mimics exactly the teal tint on Bd.com screencaps. And the teal push didnt exist on the DVD versions
I didnt want to waste another 30 bucks to get another Teal Ray release, hence i asked you if your disc's colour scheme matched the screencaps
You might be best to avoid any color films shot between late 1955 through 1960. No problems if you follow that rule.willyTass said:excuse my ignorance as i lack the technical prowess of others here
its just that on my copies of
Remastered The terminator
The great Escape
Wild river (all Fox)
what im seeing on my ISF calibrated Kuro (the Teal tint) mimics exactly the teal tint on Bd.com screencaps. And the teal push didnt exist on the DVD versions
I didnt want to waste another 30 bucks to get another Teal Ray release, hence i asked you if your disc's colour scheme matched the screencaps
There are many threads on many forums of people complaining of a teal tint to catalogue titles > They suggest this teal push never existed until recently
And ive just noted another recent Fox release , "bus stop" with Marilyn Monroe on the Beaver has this Teal push
But its not on Hello Dolly , The Sound of music , The robe . So Ill assume its not an error and thats the way films of this era/emulsion looked .
Perfect. I wonder if Mr. Tass will look at it and respond because what response can one make other than, oops. Blue is blue, teal is teal, turquoise is turquoise. Color films of this era have blue and Splendored Thing has plenty of it and it is glorious and, as I said in the other Splendored Thing thread, a poster child for what color films of this era look like.EddieLarkin said:Here I stuck a strip of teal on the LIaMST cap:
http://i.imgur.com/hWF0cK9.jpg
Notice how the strip of teal is teal and nothing else is? It's because everything else is blue...
haineshisway said:Perfect. I wonder if Mr. Tass will look at it and respond because what response can one make other than, oops. Blue is blue, teal is teal, turquoise is turquoise. Color films of this era have blue and Splendored Thing has plenty of it and it is glorious and, as I said in the other Splendored Thing thread, a poster child for what color films of this era look like.
To add to your statements, condition of the original elements may have something to do with a blue push, in addition to an incorrectly calibrated or lower-end display. Oh, and considering the stigma against teal on this forum, some people may just be interpreting an accurate teal presence as incorrect color timing. However, I do not have the disc and I do not have Mr. Tass's eyes so I can't vouch for exactly what he might be seeing.Robert Harris said:You might be best to avoid any color films shot between late 1955 through 1960. No problems if you follow that rule.
RAH
Actually, you're quite correct. It was the basic color palette of two-color Technicolor,It was replicated quite well on sequences of The Aviator.RAHROclockCK said:I think the 'teal and orange' phenomenon Mr. Tass refers to is real enough though. Since the advent of digital post, many movies do seem to have this curiously constrained colour bias, often annoying in the extremes DP's sometimes go to dial it in these days. What's easily forgotten though is that the root of this particular 'look' is just basic colour theory; it didn't originate with the digital toolsets of modern movie production. The difference was, back then, Cinematographers and Art Directors had to work that palette into the sets, the costumes, the lighting, even tweaking the lab processing.
Two-COLOR. Never was two-strip. It was an over / under process with two frames exposed at once, on a single roll of stock.ROclockCK said:Great example RAH. Like maybe this?
Subdued, but the 2-strip Technicolor 'vibe' is certainly there...only with better blacks.
Okay, then I'll just have to file that under 'old dogs learning new tricks'. Sorry, I never knew that...Robert Harris said:Two-COLOR. Never was two-strip. It was an over / under process with two frames exposed at once, on a single roll of stock.
RAH
Can't imagine why any normal person might.ROclockCK said:Okay, then I'll just have to file that under 'old dogs learning new tricks'. Sorry, I never knew that...