DANCING PIRATE ((1936) found

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Re: DANCING PIRATE ((1936) found

PostThu Mar 02, 2017 8:25 pm

All Darc wrote:Isn't a original DYE transfer print enough to represent original photography ???

This has been mentioned before on the forums, but an original dye transfer print doesn't necessarily represent the original intent of those involved in the production. Technicolor would closely monitor and quality-check prints that went out to major venues, but "the sticks" might wind up with sub-standard prints that were a little "off" or variable. So it matters what the provenance of a particular print was.

The separation negatives also don't give you an idea of intent if they're combined using modern processes. Technicolor would still have options about how the individual separations would be printed to control the overall hues.

In an ideal situation, you would have the separations and use an original dye transfer print that been through strict quality control by Technicolor for reference on how the end product should look. Sometimes, it comes down to a good judgement, based on studio records, reviews and other materials if original quality release prints aren't available as a reference.

This is also a problem with more modern color films.

"On Her Majesty's Secret Service" is one example where the original color timing was abandoned on the more recent blu-ray video restoration and transfer to give the film a high-key look at more closely matched the more recent Bond films, flattening out the darker and richer colors in many scenes in the movie that were intended to look like dawn or dusk.

Director William Friedkin has insisted on re-color timing some of his 70s films on home video, such as "The French Connection", to give them an overall look that's closer to the contemporary color grading of movies with that sickly green/blue look with everything.

Even Scorsese's "Taxi Driver" doesn't look like it did to audiences in the 70s, when the studio insisted on darkening and desaturating color in some of the more violent scenes in release prints. Scorsese brought the scenes back to the way he originally intended them to look on-screen.

These are all decisions that were made using photochemical processes in labs where release prints were made - it's never been a simple matter of just printing the negative.

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