Senior HTF Member
- Feb 8, 1999
- Real Name
- Robert Harris
Possible, but extremely doubtful to any large extent. From memory, I believe we lacked just a couple of very short OCN bits in the Sollozzo assassination sequence and possibly a single bit of stock footage. The only other shot that we never found, after going through over a hundred cans, was the background plate of the chair in the opening of GF II, which was presumed to have been re-used in another version of the film(s). That shot, as cut into the OCN, was original CRI with a title overlay.It seemed to insinuate that there were better elements in Paramount's vaults that you guys didn't use back in 2008 or something.
None of this newsworthy.
We also replaced several dupes in GF III (one with an emulsion scratch running through the dupe) which were problematic. We had located all of the production footage, used to create the dupes, but had neither time nor budget to replace them all, and there are many. The difference in quality is quite obvious at 4k. The OCN for GF III is S35 to 1.85, with beautiful quality imagery. It was cut and conformed single strand as opposed to A/B rolls, which would have kept all shots original.
All of this footage was replaced for CODA, which is the best way to view GF III.
Our work on GF III involved re-creating the re-cut version which had originally only been prepared for video, was to bring to to final film negative as a 4k DI.
Of the three films, it is GF III that best takes advantage of 4k. The gain in resolution in the two earlier films to 4k, while more obvious in projection, is minimal, based primarily upon the amount of filtration (especially in the NY flashback material in GF II), optics and grain structure. I’m not referring to pixel peeping here, but rather the difference as seen from a nominal seating distance.
All of that noted, the forthcoming 4k release should be lovely, and will hopefully accurately mimic the final 2007 color, densities, etc, as seen in the 4k DCP, which is a bit different from the Bluray. The DCP is the more accurate, and is also closer to the original look of the film than that of the recorded negative, which especially via the premiere print stock, slightly lost the amount of air, just below black.