Yoyodyne Propulsion Systems
Senior HTF Member
- Feb 24, 2000
- Sonora Norte
- Real Name
We need more guys like Benji and Jordan on that wall...Podcast with two GBU fans about their research on the film -
How an acclaimed director’s versions of a famous film be unavailable for decades — when there’s nothing stopping their release? How can a small group of fans gather the evidence and means to reconstruct those versions? How can they finally have a hand in its official release? Endless passion — and asadhillmedia.com
Indeed they do.Despite ordering a week or so before release date, Amazon has my estimate as May 28. Decided to cancel and order through KL along with 2 other movies. One is a preorder not due out until the 4th but I'm hoping they hold a TGTB&TU for me until then (it's listed as still in stock on KL's site). Since I did the free shipping I'm sure they'll send them all out together.
I've done some very preliminary comparisons this afternoon, and it's easy to see that (no surprise here) the streaming 4K version (iTunes via my ATV4K) does NOT include the changes that KL implemented for the 4K disc release. The disc is definitely less yellow and definitely exhibits some black crush compared to the stream. Which one is correct, if either of them are? Who's to say at this point. My layman's opinion is that both are screwed up in different ways. On my 65" LG OLED I find that the KL disc is more pleasing to my eye color-wise, and even though the minor black crush is there it does give the image a bit more depth. I'd also give it the edge on fine detail over the stream. Switching back and forth between them, the amount of yellow in the stream is actually a bit shocking, even though the actual color difference is probably relatively minor. I'll watch the entire KL disc tomorrow.Please let us know how they compare!
No it wasn't. I've re-graded the entire 2014 MGM disc to match the MOndo and the shadow detail was still there. Kino just crushed it to death, which is a shame.The shadow detail in this transfer was compromised when L'Immagine Ritrovata had their unflushed train station urinal grade ways with it; this may be the silkiest purse anyone can make out of this sow's ear (without spending tens of thousands on a new scan).
You would not need the raw scan to work from. I know because I've done it.I dunno, is this a regrade of the L'Immagine Ritrovata yellow transfer? I'd think what you'd need is the raw scan to work from, but maybe that doesn't exist anymore, it would take up quite a few terabytes & maybe they needed the computer space.
I wonder if there was a run on the bank...I thought I got good news last night when my direct-to-Kino order said "congratulations your order has just been approved for packing". When I placed the order in the morning, the 4K disc was available. When I got that email in the afternoon, I checked their site and the 4K was still in stock. But when I just checked right now on KL, it's "temp out of stock". I still haven't received my final confirmation that it has been packed and is being shipped. Keeping my fingers crossed. I know the margins on discs aren't what they used to be, but it looks like KL may have underestimated how many fans this movie has that are still interested in physical media...Best Buy has delayed my shipment. No estimate. Hmm...
No, as its usually two generations away, and a separate film element representing main and ends in various languages, representing a foreign (test less) background plus text overlaysTechnical question... How can an 'original camera negative' (OCN) contain opticals (titles, etc.), when those elements are added after the movie is shot? In truth, doesn't the raw material shot with the camera represent the original camera negative? Once this material is removed, duped, edited, and titles/optical fx are added, we would appear to be at least one generation away from the "OCN." Wouldn't OFN (original 'finished' negative), something that acknowledges all this after-shooting work, make more logical sense? Just wondering...