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Discussion in 'Blu-ray and UHD' started by Robert Harris, Oct 24, 2012.
The “good people” at Universal know what they’re doing, as well as the marketplace
Mr. Harris : If further 4K tweaking of Vertigo is done for an upcoming possible UHD release, would those files then be repurposed to upgrade the DCP version as well ?
I know many catalogue DCP's are essentially burned-to-order when they're booked, and erased and re-used when returned if they are not in heavy demand.
Thanks, that is good to hear. I cannot claim to know the marketplace with none of the studios releasing any sales numbers but I would immediately preorder both as soon as they become available.
Sales numbers are available, via subscription
Can you tell us what kind of subscription is that? Do they really release absolute and not only relative numbers of select titles or even releases? Do they cover all the big studios including Warner Archive and the speciality labels like Criterion, TT, Fox Lorber. Kino and Olive?
It seemed strange to me that nobody ever comes forward with any numbers of discs produced and sold for selected titles if they are readily available, but then this is easily explained if such a service would preclude its subscribers from going public with any of the data they supply.
I thought Rex Reed's original review of "Barry Lyndon" was excellent. So did Warner Brothers, apparently. A huge blow-up of it was set up in the lobby of the Cinerama Dome in Hollywood, where the film premiered. Everyone in line opening weekend got a free program and promotional button.
Sorry to bump this thread again, but the Castro Theater in SF just announced a 60th Anniversary screening in May with Kim Novak as guest. Could we hope for a corrected 4K DCP, Mr. Harris?
Great news, thanks!
The Castro generally shows a 70mm print which, for all its deficiencies, still beats the DCP for me.
I did see the 4K DCP there last fall during the pretty-much annual showing last year. Sometimes DCP, sometimes 70mm.
I have the 5-Disc Essentials collection.
With "Vertigo", are all the included titles the most current editions on BD?
Also, how would RAH rate these 5 in terms of a 4K up rez?
Mr. Harris, When did you restore Vertigo?
if the original elements don't have enough info for a 4K release then it shouldn't be done.
Or too much...
I thought we were always told that older films are the best candidates for 4k releases?
film has way more resolution than digital and I can definitely be wrong but maybe it's not enough for 4k? I don't know.
Some basics are in order here, which a simple web search will let you know. Vertigo was filmed in VistaVision. That captures an image 8 perforations wide, twice the area of standard 35mm movie film. It results in much more than 4k of data. Hitchcock's North by Northwest, also filmed in VistaVision, was scanned in 8k with a 4k capture and 4k completion, per Warner Bros' Motion Picture Imaging site.
The large negative area of VistaVision resulted in very high quality 4-perforation reduction prints. With 4k and even 2k presentation, provided it was done from low-generation elements, we can see more detail than people in the 1950s theatres could.
Definitely excited for the new release-and hope springs eternal that it will include a lossless restored mono track. I also very much hope that any 4K N by NW includes that film's mono track which is so much better mixed than the 5.1 it's not even funny.
Not always no. Choices of lighting, grading, film stock emulsion, post processing, and general filmmaking aesthetic can and will frequently limit what can be achieved in 4K resolution.
This is why you probably wont see Robert Altman's MASH on UHD anytime soon.
There's nothing to "restore" the original mono with. The Blu-ray's mono track originates from the beat-up optical track of 1958 theatrical prints. Lossless audio of this would result in an extremely marginal, perhaps unnoticeable difference. As Mr. Harris has explained over the years, the original magnetic elements were destroyed in 1967. Even the optical soundtrack negative was useless by 1983. Fortunately the music recordings largely fared much better.
Not by much though. When Varese did their expanded cd release of the score, some tracks were shedding oxide faster than they could play them.
I know they were deteriorating. But given that they survived in magnetic form, the fidelity is incomparably better than that of the music on the old optical, many-generationed prints.