Discussione tecnica BD: restauri e trasferimenti da riferimento

[vincent89]

Aggiunto:

La Guerra dei Mondi => master 4k [2005] da negativi 35mm.

[vincent89]

a vedere questa comparativa "spartacus" non sembra quel disastro che si dice

Garda questa comparativa:
link

Quest'edizione fa abbastanza schifo: DNR e EE a iosa Oltre ad un master scarso

[maxrenn77]

E' davvero orripilante. Io spero solo che le major non si mettano in mente il concetto assurdo di razor a tutti i costi che sta prendendo piede in maniera inquietante...

[ghiltanas]

l'altra sera ho finalmente visto dove osano le aquile (nn col vpr però con la tv), e personalmente ritengo abbiano fatto veramente un ottimo lavoro di restauro

[luctul]

guarda...a parte l'EE abbastanza evidente e a parte la non eccelsa qualità di questo bd....francamente se entra questo nei restauri e (sopratutto) trasferimenti da riferimento...beh...allora porte aperte per tutti

[ghiltanas]

boh sarà che quando c'è di mezzo clint sono poco obbiettivo e l'ho visto con la tv, però nn mi sembrava cosi male, per un film cosi datato

[sigpilu]

Per chi mastica un pò di Inglese, linko un intervento di Robert A. Harris sull' edizione Blu-Ray di Spartacus.

Il signor Harris si è occupato insieme a Kubrick del restauro del master originale una ventina di anni fa: un lavoro lunghissimo e certosino.

Dire che è imbestialito è un delicato eufemismo...

Un piccolo estratto con la mia (pessima) traduzione:

"In removing the noise, all grain is also gone, replaced by what appears to be a pleasant sheen of artificial film grain.

All of the detail captured by Academy Award winning cinematographer Russell Metty’s meticulous large format Technirama camera, for which he won an Academy Award for Best Color Cinematography, is unfortunately also gone.

All high frequency information has been lost, and with it all of the detail in the image."

ossia (più o meno...):

"Nel rimuovere il rumore (video), anche tutta la grana (originale della pellicola) è sparita, rimpiazzata da quello che sembra essere un gradevole velo di grana artificiale.

Sfortunatamente, è completamente sparito anche tutto il dettaglio catturato dalla cinepresa Technirama a largo formato del premiatissimo direttore della fotografia Russell Metty, per il quale aveva vinto il premio Oscar come miglior fotografia a colori.

Tutta l'informazione sull'alta frequenza è andata perduta, e con essa tutto il dettaglio nell'immagine"

Certo c'è da capirlo: oltre un anno di durissimo lavoro, andato in malora...

[Dario65]

Ma bene, qui c'è anche l'aggravante!

Continuamo così, facciamoci del male...

[vincent89]

Aggiunto:

Armageddon => trasferimento da 35mm (Panavision) e creazione nuovo master HD.

[carmico]

quindi il BD ITA in uscita il 29.09.2010 avrà come sorgente il nuovo master?

[vincent89]

Si. Ovviamente anche le altre versioni di Armageddon hanno questo nuovo master.
Ecco alcuni capture: link

[pyoung]

Perchè hai inserito Armageddon in lista? Non mi risulta sia stato restaurato, ho cercato in giro ma niente, credo sia semplicemente un nuovo master e basta

[vincent89]

La discussione parla di "restauri e trasferimenti da riferimento". In questo caso è stato creato un nuovo master HD per l'edizione BD. Quindi ci sta perfettamente nella lista

[ghiltanas]

nn è una segnalazione, ma solo una preview sull'esorcista:

http://www.blu-ray.com/news/?id=4776

il master sarà ottenuto dalla scansione dei negativi originali.
Friedkin inoltre rispose cosi, alla possibilità di una versione 3d ( ):
http://www.blu-ray.com/news/?id=4256

"Friedkin said that would never happen, "providing I'm still alive." He stated that he has control "over every single frame of film" when converting it to Blu-ray"

speriamo venga fuori un lavoro come si deve

[vincent89]

Ed ecco che finalmente è uscita la riedizione in BD del Gladiatore. Realizzata dalla Filmlight da uno scan 4k dei negativi ecco a voi lo splendido risultato:

LINK

Colorist Lou Levinson on Restoring (and, Sometimes, Re-Thinking) Movies with the Baselight

Last week at NAB, Laser Pacific colorist Lou Levinson dropped by Filmlight’s demo room to show reporters a quick look at his work digitally restoring two popular titles on the super-powered Baselight color-grading system — director Steven Spielberg’s Saving Private Ryan and director Ridley Scott’s Gladiator.

If you’re like me, you might wonder how much restoration really has to be done on two films released at the turn of the 21st century. I mean, how bad can they look?

As described by Levinson, these two restorations were class acts. The original camera negatives were scanned at 6K on a Northlight scanner to create a detailed and nuanced 4K image to work with. (If the same work were being done today, Levinson said, a Northlight 2 would likely be scanning the film at 8K — a resolution that he said is “getting near film’s theoretical limits.”)

Color-grading was performed on the Baselight 8, a system powerful enough that organization becomes the biggest problem for a colorist to manage, rather than any issues with the capabilities of the hardware or software, Levinson said. If a picture is in really bad shape, Levinson said he’ll turn to tools from The Pixel Farm to perform serious geometrical restoration on distorted film frames.

Levinson chatted a little bit about dust-and-scratch removal — the latest toolsets make it much easier to fix vertical scratches, he says — but a restoration job can be more complicated, and more amusing, than just that. Levinson showed us a shot from Gladiator in which several members of the film crew are just visible around a corner of the Roman cityscape. They have now been painted out using a clone tool to replicate bits of brickwork where they once stood. (Levinson suspects one of the men caught in the shot is Scott himself, but has yet to enlarge the image enough to verify that hunch.)

On Saving Private Ryan, one of Levinson’s primary goals was to recapture the ENR (silver-retention) look of the film’s original answer prints. That got me thinking about an issue I’ve always assumed to be fundamental to the job of creating new video masters. Is a colorist attempting to be true to film history by recreating the look of an original theatrical screening of a film? Or is he trying to take advantage of digital technology to, let’s say, “enhance” the image in (one hopes) tasteful ways? I asked Levinson if he considered an original answer print to be the ultimate reference when working on a project like this.

“A lot of creators never stop thinking about their films,” even after their release, Levinson said in response. He went on to explain that the director is the arbiter of how far a colorist should go in refining a film’s imagery. He mentioned one type of director — naming no names — for whom a film’s look is a bit of a moving target. “I’ve done the same movie four times and had it look different all four times,” he said.

I talked about this subject a little more with Laser Pacific mastering guru Ron Burdett, who insisted that the company won’t even consider a restoration project on a living director’s work unless that director is available to sign off on the restoration. (What happens when a living director butts heads with a living cinematographer is a whole ‘nother story.) As you might expect, film grain is often one of the first characteristics of the picture to receive scrutiny. Some directors display their grain proudly, while others prefer to have it dialed down a notch or two for posterity. Before you bake in that decision, you need the fellow who helmed the movie to give it the thumbs-up.

Levinson is a go-to guy for Spielberg, having worked on digital masters for E.T. the Extra-Terrestrial, Schindler’s List, Jurassic Park, and more of his films. On deck to receive some Baselight TLC is Raiders of the Lost Ark, which will get a full restoration and perhaps a stereo 3D makeover. But the current science project at Laser Pacific is an implementation of the IIF-ACES workflow (see Film & Video‘s coverage of its use on season two of Justified), a 16-bit OpenEXR process that requires 76.5 MB per frame and 1.8 GB per second of footage. The first beneficiary of that will be the live-action version of 101 Dalmatians starring Glenn Close from 1996. We’ll try to get more information on that project for publication here at StudioDaily later this year.