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Discussion in 'DVD' started by Kramer Lowry, Sep 11, 2004.
A Room With A View S.E. was remastered to NTSC from a PAL master. The semitone pitch difference in sound is MOST annoying.
I believe it's actually about half a semitone. It's annoying nonetheless.
The Brazilian release of Trainspotting was also a PAL->NTSC conversion. I trust the recent R1 re-release was mastered correctly?
Do these movies have different distributors in Brazil than the US? I don't see why they wouldn't just use the NTSC transfers made for the US.
Now that Universal has been bought away from Canal, maybe this practice will stop.
The PAL-NTSC thing happens a lot here in Canada. Any Canadian-only releases of european films you can almost always expect them to be taken from a PAL master.
Errr, they don't film movies at 25fps here in Europe. That would mean the American filmmakers film at 23.976fps to match the framerate of NTSC
Just as a counterpoint, what about the PAL to NTSC conversion for the recent release of "La Dolce Vita"? Supposedly Koch Lorber used a technique that allowed them to isolate the information for each frame and reformat this into the 3/2 pattern used for NTSC. This resulted in a correct running time without PAL speedup. I would think that if this were a commonly used technique that PAL to NTSC conversions would look a lot more pleasing.
I can't believe that the marginally increased costs of sourcing an NTSC master are greater than the costs of sourcing a PAL master and getting it standards converted to NTSC (which is quite expensive, if it's done on good equipment - an Alchemist standards convertor, for example). A PAL to NTSC transfer would cost the best part of a thousand dollars, once you factor in tape stock, and the labour to re-check the new master).
Still, you people are overlooking the fact that it's not just matter of transferring a film, it's a matter of carefully spending hours upon hours cleaning up an entire feature, which isn't exactly a few pennies worth of work, either.
I think for the most part (and ESPECIALLY with the Chaplin material, so quit bellyaching about those cause they're not THAT bad) we should be quite greatful that many films are seeing a release at ALL. 20-30 years ago, there was a point where it was damn next to impossible to get a good quality anything if you lived no where and knew no one. Now with this digital revolution we're living in, we've become spoiled for extras and "the finest".
In some instances, you must make do with what you have. This is one of those cases. Are there better ways around it and is it avoidable? Of course. But should we be happy with what we get on our plates to begin with and not bite the hand that feeds us.
PAL-to-NTSC transfers need not look bad, so long as they are "time corrected" by transfering every 48-fields (24 frames) of film-sourced PAL to 60-field NTSC via 2/3 pulldown. The Synapse Films releases of THE GRAPES OF DEATH and FLAVIA THE HERETIC both came from PAL master tapes that were correctly converted to NTSC, and they both look great.
Unfortunately, it seems most companies don't do the "time correction", and the resultant NTSC DVDs will be plagued with really nasty motion artifacts, especially on progressive displays, but using a PAL master for an NTSC DVD in and of itself is not a bad thing.