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Cineman

Second Unit
Joined
May 30, 2011
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485
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David B.
They ship to Thailand, but not Canada?

Did you buy it off eBay or the website?
Ah, my apologies for the confusion. I have ordered from both ClassicFlix and Amazon over the years and it had been some time since my initial pre-order of that title. So I had to go into my email notifications and saw messages from ClassicFlix letting me know it was ready for shipment and so on. So I assumed that order had been directly from ClassicFlix and that prompted my first reply about it here.

But then I saw another later email message from Amazon letting me know the "Great news!" about a refund of $10 from my initial pre-order.

That tells me you are right; at some point a few months back I shifted to Amazon for the order to get it shipped internationally to me. Oops.

I just now added a VERY LATE EDIT to my previous reply to that effect.
 
Last edited:

battlebeast

Senior HTF Member
Joined
Aug 10, 2010
Messages
4,458
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Edmonton, Alberta
Real Name
Warren
Ah, my apologies for the confusion. I have ordered from both ClassicFlix and Amazon over the years and it had been some time since my initial pre-order of that title. So I had to go into my email notifications and saw messages from ClassicFlix letting me know it was ready for shipment and so on. So I assumed that order had been directly from ClassicFlix and that prompted my first reply about it here.

But then I saw another later email message from Amazon letting me know the "Great news!" about a refund of $10 from my initial pre-order.

That tells me you are right; at some point a few months back I shifted to Amazon for the order to get it shipped internationally to me. Oops.

I just now added a VERY LATE EDIT to my previous reply to that effect.
No biggie. :)
 

Ray Faiola

Stunt Coordinator
Joined
Mar 15, 2004
Messages
82
Location
Ellenville, NY
Real Name
Ray Faiola
Yes, the sound on Our Town leaves a lot to be desired. In the opening credits Aaron Copland's music sounds a semi-tone sharp to my years. With iZotope and other software programmes the producers could easily have worked wonders by re-mastering the M&E track. Unfortunately, they did not.
I have to step in here as the sound restorationist on OUR TOWN. First, John, I did use iZotope tools in working on this track. The 35mm tracks we had to work with had myriad problems including significant noise-to-signal ratios (some reels worse than others) and varying levels of "whistle". I don't know how far back the audio issues date but as anyone who has seen the various incarnations of the film knows, they were only compounded over the years. I actually have an original 16mm print that has a cleaner but decidedly narrower track. I even toyed with using it for the blu-ray but opted for the 35 which had far greater dynamics. I even mentioned the problematic track in my commentary, which I normally would not do but it would sort of be ignoring the elephant in the room if I hadn't. All that said, I would hope you would agree that the inherent ambience of the track still shines through. I'm sure other engineers would have simply EQ'd the hell out of the thing so the critics could say "No noise! Yay!". As always, I try to strike a delicate balance between retaining original ambience and repairing subsequent issues. My apologies to David for going public on this but I want to stress to those who have not yet bought the ClassicFlix edition of OUR TOWN that is the best you will have ever seen - or very possibly heard - this very fine film.
 

Robert Harris

Archivist
Reviewer
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Joined
Feb 8, 1999
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18,367
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Robert Harris
I have to step in here as the sound restorationist on OUR TOWN. First, John, I did use iZotope tools in working on this track. The 35mm tracks we had to work with had myriad problems including significant noise-to-signal ratios (some reels worse than others) and varying levels of "whistle". I don't know how far back the audio issues date but as anyone who has seen the various incarnations of the film knows, they were only compounded over the years. I actually have an original 16mm print that has a cleaner but decidedly narrower track. I even toyed with using it for the blu-ray but opted for the 35 which had far greater dynamics. I even mentioned the problematic track in my commentary, which I normally would not do but it would sort of be ignoring the elephant in the room if I hadn't. All that said, I would hope you would agree that the inherent ambience of the track still shines through. I'm sure other engineers would have simply EQ'd the hell out of the thing so the critics could say "No noise! Yay!". As always, I try to strike a delicate balance between retaining original ambience and repairing subsequent issues. My apologies to David for going public on this but I want to stress to those who have not yet bought the ClassicFlix edition of OUR TOWN that is the best you will have ever seen - or very possibly heard - this very fine film.
Thank you for posting this.

Aeons ago, I had a 35 nitrate on Our Town, and the track - which was variable density - had been printed lighter than proper. The audio was noticeably problematic. We produced a 16 reduction dupe and re-recorded the track, but were not able to solve the problems.

The original negatives on the film do survive, but have not been accessed.
 

cda1143

Supporting Actor
Joined
May 4, 2013
Messages
623
Real Name
Chris
I have to step in here as the sound restorationist on OUR TOWN. First, John, I did use iZotope tools in working on this track. The 35mm tracks we had to work with had myriad problems including significant noise-to-signal ratios (some reels worse than others) and varying levels of "whistle". I don't know how far back the audio issues date but as anyone who has seen the various incarnations of the film knows, they were only compounded over the years. I actually have an original 16mm print that has a cleaner but decidedly narrower track. I even toyed with using it for the blu-ray but opted for the 35 which had far greater dynamics. I even mentioned the problematic track in my commentary, which I normally would not do but it would sort of be ignoring the elephant in the room if I hadn't. All that said, I would hope you would agree that the inherent ambience of the track still shines through. I'm sure other engineers would have simply EQ'd the hell out of the thing so the critics could say "No noise! Yay!". As always, I try to strike a delicate balance between retaining original ambience and repairing subsequent issues. My apologies to David for going public on this but I want to stress to those who have not yet bought the ClassicFlix edition of OUR TOWN that is the best you will have ever seen - or very possibly heard - this very fine film.
Much appreciated explanation. Thank you so much for not eq-ing it to death.
 

Jimbo.B

Stunt Coordinator
Joined
Dec 5, 2021
Messages
67
Real Name
Dimitrios
When someone says that an original negative exists but can’t be accessed, what does that mean? Is it privately owned by a collector?
 

Robert Crawford

Crawdaddy
Moderator
Patron
Senior HTF Member
Joined
Dec 9, 1998
Messages
67,736
Location
Michigan
Real Name
Robert
When someone says that an original negative exists but can’t be accessed, what does that mean? Is it privately owned by a collector?
It could mean it's in public domain, but one of the studios has the OCN in their vaults and won't allow any outside access to it.
 

JSLasher

Stunt Coordinator
Joined
Jul 3, 2010
Messages
89
Location
Menindee NSW Australia
Real Name
John Steven Lasher
I have to step in here as the sound restorationist on OUR TOWN. First, John, I did use iZotope tools in working on this track. The 35mm tracks we had to work with had myriad problems including significant noise-to-signal ratios (some reels worse than others) and varying levels of "whistle". I don't know how far back the audio issues date but as anyone who has seen the various incarnations of the film knows, they were only compounded over the years. I actually have an original 16mm print that has a cleaner but decidedly narrower track. I even toyed with using it for the blu-ray but opted for the 35 which had far greater dynamics. I even mentioned the problematic track in my commentary, which I normally would not do but it would sort of be ignoring the elephant in the room if I hadn't. All that said, I would hope you would agree that the inherent ambience of the track still shines through. I'm sure other engineers would have simply EQ'd the hell out of the thing so the critics could say "No noise! Yay!". As always, I try to strike a delicate balance between retaining original ambience and repairing subsequent issues. My apologies to David for going public on this but I want to stress to those who have not yet bought the ClassicFlix edition of OUR TOWN that is the best you will have ever seen - or very possibly heard - this very fine film.
Yes, I understand the problems you encountered, Thanks for elaborating. It’s a fine film with a superb Copland score, which Jerome Moross (composer of “The Big Country”) orchestrated.
 

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