David Von Pein
Senior HTF Member
- Joined
- Feb 4, 2002
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- 5,752
Thay all pre-date the wide spread use of Dolby Stereo.I suppose that would depend on how one defines "widespread". Dolby Stereo was introduced in the fall of 1975 with the release of Lisztomania. The first film with a Dolby Stereo soundtrack with encoded surround channel was in the spring of 1976 with A Star Is Born (Streisand).
Airport and Airport 1975 pre-dated Dolby Stereo but '77 and The Concorde: '79 could have been released with Dolby Stereo soundtracks, but these were sequels so I would suspect Universal simply cheaped out on the soundtrack production.
BTW, I have had a look at the new "Terminal Pack" and can say the transfer for Airport looks to be the same that was given to Goodtimes for the previous widescreen version. The transfers for the next two sequels look noticably better than the older non-enhanced versions with Airport '77 looking very nice indeed. The Concorde: Airport '79 may well be the weakest of the four with widely variable quality of elements throughout. One shot will look "okay" then the following shot will be soft and grainy with washed out color. Certianly watchable if you are a fan of the movie, but not a great looking disc.
As for the DTS track on the Airport disc, the source master for the multi-channel mix is rather dated with limited fidelity. What track one listens to will make no difference.
Formatting for the set is disc one a DVD-14, dual layer for Airport on one side and a single layer for Airport 1975 on the flip. Disc two is a DVD-10, single layer on both sides.
Despite the shortcomings in these presentations, all four films with 16:9 enhanced transfers in a single package for $24.98 retail qualifies as a stone-cold bargain.
Airport was a Todd-AO production intended for 70mm release, therefore had a 6 track master.
The rest were never intended for 70mm release, and therefore carried mono optical tracks. Thay all pre-date the wide spread use of Dolby Stereo.While true the sequels were relased in mono optical only, AIRPORT had some 35mm 4-track mag stereo prints released, and there was no technical reason why II-IV couldn't also have included these.
Interestingly, the AIRPORT ads in both the LA Times and San Diego Union claimed the movie featured "8 track stereo" during the exclusive 70mm engagements.
BTW, I have had a look at the new "Terminal Pack" and can say the transfer for Airport looks...Careful of the snakes.
Careful of the snakes.
"I know every inch of the 707! Take the wings off this, and you can use it as a tank! This plane is built to withstand anything...except a BAD PILOT!!!"
I have had a look at the new "Terminal Pack" and can say the transfer for Airport looks to be the same that was given to Goodtimes for the previous widescreen version.As a point of clarification, the aspect ratio of the original 65mm negative would be 2.21:1, however, 35mm scope reduction elements would be 2.35:1. Since the vast majority of people that saw this film theatrically saw 35mm prints, this DVD transfer should be considered correct. I would also have hoped for a new transfer from a 65mm source, but I'm sure Universal would simply not spend that kind of money on a film they obviously feel belongs in the bargain bin.
Wonder why, though, Universal didn't put this info anywhere in the specs? Not even on its own website.Follow-up ......
Just today Universal HAS decided to add the extra information re. "Trailers"
on its Airport page.
(Guess it was some big secret until February 11th, the day after its release. )