HD et restauration

[davidf]

Si tu es habitué a avoir vu le film en pal, c'est pas gênant, ce qui me choque, c'est que la HD / Blue Ray te fais la promesse du 24 images seconde, enfin les films et les bandes son à la bonne vitesse...

hors, studiocanal livre du traficoté. C'est honteux... on ment sur la marchandise.

[mynameisfedo]

Si tu es habitué a avoir vu le film en pal, c'est pas gênant, ce qui me choque, c'est que la HD / Blue Ray te fais la promesse du 24 images seconde, enfin les films et les bandes son à la bonne vitesse...

hors, studiocanal livre du traficoté. C'est honteux... on ment sur la marchandise.

bah! de toute façon, on nous ment indifféremment sur tout aujourd'hui.
maintenant, rien ne t'empêche d'acheter. sauf que n'ayant pas le DVD et souhaitant revoir le film en HD, je n'allais pas prendre le risque de patienter encore 5 ans pour avoir l'édition "parfaite".
quant à prendre le DVD, c'était Niet.

[davidf]

D'après Bullet & Babes, la version UK de T2 HD serait correcte niveau pitch, donc a priori pas de problèmes sur T2 version studiocanal.

http://www.dvdtimes.co.uk/content.php?contentid=65626

A priori, Studiocanal a promis de ne plus faire de bêtises

As far as I know, this affected only the first round of Canal+ imports, I have not heard of it affecting any of the other imports.

The problem is they (Canal+) used pre-existing audio encodes that were made for the PAL 25p encodes. So, in order to match the 24p encode on the HD DVDs they had to speed it up slightly (kind of like playing a 25rpm record on a 24rpm player - it you see what I mean).

The speedup is very slight so in most cases it is not really noticable. And yes, this will even affect players in Europe playing on HD TV sets (which goes to show hoe slight the issue is sionce even the QA people in Europe did not notice the sound issue).

It is unlikely that this will occur in future releases since they are now aware of the problem in MS has said they are working with Canal+ to make sure it does not happen again.

[mynameisfedo]

A priori, Studiocanal a promis de ne plus faire de bêtises

c'est pour ça qu'ils ne sortent plus rien?

[Boubakar]

A priori, Studiocanal a promis de ne plus faire de bêtises

C'est aussi crédible que de dire que Bach Films fera des bons dvd, ça !!

[davidf]

Ou que les DVD MK2 ont des belles pochettes et un excellent directeur artistique ? OK je sors

[William_Kramps]

Clair

Non, sérieux, il pourrait pas s'appliquer un peu, là, on dirait de la jaquette de VHS pirate pakistanaise (avec tout le respect que je dois au peuple Pakistanais)
Ca fait franchement pitié, surtout quand on compare au coffret Truffaut que Critérion à sorti

[Mister Zob]

Un article "pour Geoffrey" :
http://www.soundandvisionmag.com/featur ... -edge.html

Apparemment, la restauration des DIRTY HARRY suit son cours.

[Geoffrey Firmin]

Un article "pour Geoffrey" :
http://www.soundandvisionmag.com/featur ... -edge.html

Apparemment, la restauration des DIRTY HARRY suit son cours.

Oui, on peut meme y voir un technicos travaillé à la restauration 4K:


On voit aussi que Warner transfert en 4K The great lie un film mineur de Edmund Goulding avec Bette Davis.C'est plustot encourageant pour la suite si meme ce film est en 4K.

[Geoffrey Firmin]

On attend une éventuelle édition BR de La conquête de l'ouest chez Warner avant la fin de l'année.
La restauration de ce film devrait nous changer la vision habituelle que l'on a de ce film tourné avec un procéder particulié.

[Griffin Mill]

Je me souviens des diffusions de la Conquête de l'Ouest sur la 3 on voyait bien la démarcation des trois films mais ça avait son charme et la copie était belle, c'était bien synchrone.
On pouvait imaginer l'ampleur d'une projection en Cinerama.
Pour la coup la résolution HD doit être nettement en dessous de celle du négatif original, non?

[Geoffrey Firmin]

Je me souviens des diffusions de la Conquête de l'Ouest sur la 3 on voyait bien la démarcation des trois films mais ça avait son charme et la copie était belle, c'était bien synchrone.
On pouvait imaginer l'ampleur d'une projection en Cinerama.
Pour la coup la résolution HD doit être nettement en dessous de celle du négatif original, non?

Oui on estime qu'un transfert video devrait etre en 8K pour etre à la hauteur du 70mm.
Les diffusions TV étaient en 2.35, la on aura droit au 2.76.

[someone1600]

C'est sur que ca doit etre impressionnant.

[Nestor Almendros]

Les captures "avant-après" sont très impressionnantes (dommage que les couleurs aient perdu de leur force au lavage). Je me souviens vaguement, moi aussi, de diffusions tv avec ces 3 parties distinctes dans l'images. Par contre cela fera peut-être bizarre de suivre un film au super grand angle pendant plus de 2h (et je crois, d'ailleurs, que le film n'est pas tip top... isn't it Jeremy?)

[Geoffrey Firmin]

10 films de David Lean restaurés en HD pour le centenaire de sa naissance.

The ten films were restored by one of three standard film restoration processes:
Photochemical, Digital Sections and Full Digital Intermediate. Each film also had digital audio restoration. Although the Archive Film Lab at the BFI National Archive was the main facility for the restoration work, other film labs such as Cineric in New York were used for additional specialized work. Following the photo-chemical work, Granada International remastered their films to High Definition with full digital picture and sound restoration.

THE RESTORED TITLES

IN WHICH WE SERVE
Lean shared the directing credit with Noël Coward, who wrote and starred in this tense and moving account of life on board a wartime destroyer. Although based on the experiences of Louis Mountbatten, this is a state-of-the-nation film with social divisions on shore faithfully mirrored aboard ship. Lean arranged all the camera set-ups and directed Coward in his scenes in front of the camera.
With John Mills, Bernard Miles, Celia Johnson, Richard Attenborough.
UK / 1942 / bw / 116 mins / Granada International / Park Circus

THIS HAPPY BREED
Noël Coward was again the source for this story of a London lower middle-class suburban family in the inter-war years from 1919 to 1939. The finely and wittily observed family feuds unfold against a panorama of public events ranging from the General Strike of 1926 to the outbreak of war itself. Beautifully acted by an ensemble cast and shot in Technicolor, the film was a huge contemporary hit and has lost little of its appeal.
With Robert Newton, Celia Johnson, John Mills, Kay Walsh, Stanley Holloway.
UK / 1944 / Technicolor / 114 mins / Granada International / Park Circus

BLITHE SPIRIT
David Lean’s first comedy, again scripted by Noël Coward from his Broadway hit, stars Rex Harrison as a successful and cheerfully cynical novelist whose marital bliss is interrupted by the mischievous ghost of his first wife, visible to him but invisible to everyone else. The simple but effective special effects, all the more impressive in Technicolor, won an Oscar.
With Constance Cummings, Kay Hammond, Margaret Rutherford.
UK / 1945 / Technicolor / 96 mins / Granada International / Park Circus

BRIEF ENCOUNTER
David Lean’s international reputation was established with this study of unfulfilled passion and guilt – themes that were to recur in his later work. Critically debated, mocked, referenced and remade, this account of an unconsummated affair between a middle-class housewife and a doctor, forced to meet at a railway station, retains a tight emotional grip on any contemporary audience.
With Celia Johnson, Trevor Howard.
UK / 1945 / bw / 86 mins / Granada International / Park Circus

GREAT EXPECTATIONS
Undoubtedly one of the finest Dickens adaptations, the film is studded with memorable setpieces, from young Pip’s hair-raising encounter with Magwitch in the graveyard to the eerie Gothic fantasy world of Miss Havisham. The Oscar-winning team of cinematographer Guy Green and production designer John Bryan bring Dickens’ settings to vivid, indelible life.
With John Mills, Valerie Hobson, Bernard Miles, Alec Guinness.
UK / 1946 / bw / 118 mins / Granada International / BFI (licensed by Park Circus)

OLIVER TWIST
Dickens’ extravagant vision of Victorian London is perfectly balanced by superb performances and Lean’s fierce grip on the sprawling narrative. Guy Green and John Bryan lend an Expressionist look to Fagin’s hellish underworld and Alec Guinness, in his second major role, gives a finely judged theatrical – if controversial – depiction of Fagin himself. Lean was always eager to open a film without dialogue and here he excels himself with a tour de force sequence of Oliver’s pregnant mother battling against a storm.
With Robert Newton, John Howard Davies, Kay Walsh.
UK / 1948 / bw / 116 mins / Granada International / BFI (licensed by Park Circus)

THE PASSIONATE FRIENDS
Re-released by the BFI to mark David Lean’s centenary in 2008, The Passionate Friends has been hailed by critic David Thomson as his work ‘most deserving rediscovery’. Mary (Ann Todd) has chosen a comfortable secure life with her rich banker husband (Claude Rains) over romantic passion with her first love Steven (Trevor Howard). Turmoil ensues when Steven suddenly reappears in her life. With its subtle performances, nuanced direction and beautiful cinematography, Lean’s absorbing romance, adapted from a story by H G Wells, is a fascinating companion piece to Brief Encounter.
With Ann Todd, Trevor Howard, Claude Rains.
UK / 1948 / bw / 91 mins / Granada International / BFI (licensed by Park Circus)

MADELEINE
In this period drama, set in Victorian Glasgow and based on a true story, Lean exploits the ambiguous and enigmatic screen presence of Ann Todd. Here she plays a young woman who, rebelling against her patriarchal father, falls for a penniless but exploitative French aristocrat who later dies of arsenic poisoning. Madeleine is anything but a victim, daring to expose her sexuality. Guy Green’s deep focus photography owes much to CITIZEN KANE.
With Leslie Banks, Elizabeth Sellars, Ivan Desny.
UK / 1949 / 91 mins / Granada International / BFI (licensed by Park Circus)

THE SOUND BARRIER
The human cost of scientific progress underlies this story of an aircraft manufacturer whose obsession for perfection leads him into near madness and brings his family suffering – a tendency shared by Lean himself. The script by Terence Rattigan delivers the drama, but the exhilarating aerial footage and the score by Malcolm Arnold are what lodge in the memory.
With Ralph Richardson, Ann Todd, Nigel Patrick.
UK / 1952 / bw / 118 mins / Canal Plus

HOBSON’S CHOICE
Charles Laughton delivers a bravura performance as a self-important Lancashire bootmaker who attempts to dictate his daughter’s choice of husband, only to find that she marries his downtrodden and simple-minded employee and starts a rival business. Set in the 1890s, this working class comedy by Harold Brighouse was first staged in 1916 but is here given a fresh breath of cinematic life thanks to luminous cinematography by Jack Hildyard.
With John Mills, Brenda de Banzie, Prunella Scales.
UK / 1953 / bw / 107 mins / Canal Plus