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Robert Harris

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I don't have the BFI Blu-ray, and I'm not set up to switch sources, but I did go back and forth between the Severin UHD and their included Blu-ray, looking for differences between the two. Swapping discs instead of sources is obviously an impediment, but it was still hard to spot the differences. The biggest difference that I was expecting was in terms of grain management, which is where UHDs can definitely have the edge. It was difficult to see any major improvements on the UHD vs the Blu-ray. I don't doubt that they may have reduced the grain, but there's still no getting around the fact that it's a great looking transfer in either format.
A lack of high frequency information and grain will never bother viewers that don't know what they're missing. And from a distance…
 
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sbjork

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A lack of high frequency information and grain will never bother viewers that don't know what they're missing. And from a distance…
From a distance, the differences wouldn't have been noticeable, but I got my nose right up to my projection screen, and they were still barely noticeable.
 

Robert Harris

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From a distance, the differences wouldn't have been noticeable, but I got my nose right up to my projection screen, and they were still barely noticeable.
If you referring to the Blu-ray vs the 4k, that tells you pretty much everything you need to know.
 

Robert Harris

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Thanks, Bob. I must have misplaced my sense of humor yesterday. But in my defense there is an enormous amount of incorrect information out there on OUT OF THE BLUE. Including some websites that say we created the new digital master from the two 35mm prints struck in 2008! Work on the OCN in 2008 to generate a new IP was more involved then just a simple lab order. Cleaning and tape removal and re-color timing. Nothing as extensive as your projects, for sure. But the OCN had been used to directly create film prints back in 1980 for extensive theatrical release in Germany and France, so while I didn't bother you on every twist and turn in the work-flow at Technicolor, there was more than a phone order, for sure. Thanks for the kind words on the final results!
Pleased your sense of humour has returned.

For those unacquainted with basic lab work, here’s how things generally work when a modern negative goes back to the lab.

Inspection, read old lab cards, and use them to do a test section for old shot to shot timing to how the old lites (for older stock) answers back on newer stock with a different overall printer setting.

If the test print looks reasonable, there’s an overall correction, after which there are touch ups. If not, it gets more time consuming.

As to minor wear, the wet gate takes care of those problems.

Strike the dupe neg, make a one-lite, and add any corrections.

It’s all done without breaking into a sweat.
 

jas50

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I would personally recommend the Severin set over BFI. First, both companies were working from the same master file I delivered. And I think whatever slight differences there might be in encoding for the regular blu-ray are exactly that - "slight." Both companies keep their own counsel on the encodes but I do know that OUT OF THE BLUE 4K is Severin's first Dolbyvision release. And the encode was time-consuming and difficult. The final result is beautiful even if there is a diminishment in grain. I doubt it was done intentionally, but I haven't asked yet. The good news is that you get the regular blu-ray with the UHD disc in the Severin set.

Secondly, I produced most of the extras for both BFI and Severin. And I think super-fans of OUT OF THE BLUE will appreciate the extras created with the extra time between the UK and North American release - especially the interviews I did with "original" writer/director Leonard Yakir - speaking for the first time on his experiences on the movie and relating his version of events that led to his replacement. Also an excellent interview with Jessica Hundley who worked with Hopper on his photography curation for the Taschen book and another one with Lawrence Schiller who directed the amazing documentary American Dreamer on Hopper's wild journey on The Last Movie. Also an interview with Brian Cox (Succession) on his thoughts on acting and Dennis Hopper's accomplishment with OUT OF THE BLUE. And the Q&A with Natasha Lyonne and Julian Schnabel along with Elizabeth Karr any myself for the theatrical premiere of the 40th Anniversary 4K release in NYC at the Metrograph.

But buyer beware. I'm still creating new materials/interviews for future releases and re-releases! Rust never sleeps!
 

Robert Harris

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I would personally recommend the Severin set over BFI. First, both companies were working from the same master file I delivered. And I think whatever slight differences there might be in encoding for the regular blu-ray are exactly that - "slight." Both companies keep their own counsel on the encodes but I do know that OUT OF THE BLUE 4K is Severin's first Dolbyvision release. And the encode was time-consuming and difficult. The final result is beautiful even if there is a diminishment in grain. I doubt it was done intentionally, but I haven't asked yet. The good news is that you get the regular blu-ray with the UHD disc in the Severin set.

Secondly, I produced most of the extras for both BFI and Severin. And I think super-fans of OUT OF THE BLUE will appreciate the extras created with the extra time between the UK and North American release - especially the interviews I did with "original" writer/director Leonard Yakir - speaking for the first time on his experiences on the movie and relating his version of events that led to his replacement. Also an excellent interview with Jessica Hundley who worked with Hopper on his photography curation for the Taschen book and another one with Lawrence Schiller who directed the amazing documentary American Dreamer on Hopper's wild journey on The Last Movie. Also an interview with Brian Cox (Succession) on his thoughts on acting and Dennis Hopper's accomplishment with OUT OF THE BLUE. And the Q&A with Natasha Lyonne and Julian Schnabel along with Elizabeth Karr any myself for the theatrical premiere of the 40th Anniversary 4K release in NYC at the Metrograph.

But buyer beware. I'm still creating new materials/interviews for future releases and re-releases! Rust never sleeps!
Unless one is not taking a film production seriously, affected grain structure is a big deal.

Perhaps the 2023 edition will have proper original grain structure, with all present plus added extras, and the 4k feature disc with fewer extras, allowing more real estate for extra grain.

Was the Severin 4k approved by anyone for originality and transparency to the original files, or does the licensee just take the files and run with them? This is a pity, as one must presume that the files, as delivered, were beautiful, and hopefully match he DCP.
 
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davidmatychuk

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As a lifelong Vancouver musician going back to the 70's and a long-time compadre of featured band Pointed Sticks, I must offer a correction to Kat Ellinger's commentary. She refers to Pointed Sticks' drummer Ian Tiles, which he remains to this day, but the Pointed Sticks' drummer at the time of the filming and the drummer interacting so amusingly with Linda Manz was Ken "Dimwit" Montgomery, who passed away in 1994. I noticed the error when I got the BFI Blu-Ray; I presume it's also on the Severin, which after reading this thread I suppose I'll have to get on 4K. The Blu-Ray is an astounding presentation of a Vancouver classic, and thank you John!
 

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