Legend Films' latest: "She", "Things To Come", etc.
07-10-07, 03:51 PM
#301
Senior Member
Join Date: Jan 2007
Posts: 260
Likes: 0
Received 0 Likes
on
0 Posts
Check those few images of West Wing Works at this page on their site. http://www.westwingstudios.com/wws/website/clients.htm
Contrast makes the difference:
See the images of Three Stooges colors... Bad contrast photo still (flat brightened), and colors get bad.
Also the War Lover, a HD project. The image looks horrible.
The Bewitched and Rin Tin Tin colorization about 7 years, done by Dynacs Digital Studios (that developed the software West Wings uses today), looks bether for those images than the image sample of the Three Stooges.
Also the Word War I in color looks bad due the contrast of orignal print. Looks not like a color contrasting print, but like a colorization of contrast print.
By the way: Does anybody know why the film The War Lover (With Steve Macguin) wasn't realised yet?
They promissed it years ago.
A.B
Contrast makes the difference:
See the images of Three Stooges colors... Bad contrast photo still (flat brightened), and colors get bad.
Also the War Lover, a HD project. The image looks horrible.
The Bewitched and Rin Tin Tin colorization about 7 years, done by Dynacs Digital Studios (that developed the software West Wings uses today), looks bether for those images than the image sample of the Three Stooges.
Also the Word War I in color looks bad due the contrast of orignal print. Looks not like a color contrasting print, but like a colorization of contrast print.
By the way: Does anybody know why the film The War Lover (With Steve Macguin) wasn't realised yet?
They promissed it years ago.
A.B
07-24-07, 12:11 PM
#302
DVD Talk Legend
Join Date: Sep 1999
Location: Building attractions one theme park at a time.
Posts: 10,800
Received 82 Likes
on
49 Posts
From Kino's Site:
http://www.kino.com/video/item.php?film_id=868
She: Deluxe Edition
Directors: Irving Pichel, Lansing C. Holden
Starring: Gustav von Seyffertitz, Helen Gahagan, Helen Mack, Nigel Bruce, Randolph Scott
Country: U.S.
Genres: Action-Adventure, Kino Essentials, Sci-Fi / Fantasy, Special Effects
Type: Color and B&W
Year: 1935
Language: English
Length: 102 mins.
Aspect Ratio: 1.33:1
QuickTime: Med
Email a friend
$24.95 $17.47 (30% off) - Preorder
(Available: Aug 24th 2007) DVD info
(Note: DVD not for sale to customers outside U.S. and Canada)
Synopsis
She, created by the same team of special-effects wizards that stunned Hollywood with the original King Kong, is a thrilling tale of adventure, immortality and lost love. A group of explorers, led by the dashing Leo Vincey (Randolph Scott, Ride the High Country), sets out on a dangerous mission in search of the legendary "flame of life," a mysterious force that bestows immortality. The perilous journey takes them North to the heart of a remote glacier, where they are captured by the beautiful She, an independent, powerful, and fearsome woman who rules a fantastic, subterranean kingdom.
Filled with art deco sets, gorgeous costumes, Busby Berkeley-style choreography, and backed by Max Steiner's (King Kong, Gone With the Wind) powerful score, She is pure heart-stopping, eye-popping adventure, sure to delight fans of Raiders of the Lost Ark.
This stunning new edition of She has been painstakingly restored in High Definition from the original 35mm elements, and is here offered in both its original B&W version, and in a newly colorized version created under the direction of legendary effects master Ray Harryhausen. In addition, both films show scenes deleted from the original cut, but which have now been restored back into the film.
SPECIAL FEATURES
2 complete versions of the film: B&W and colorized
Additional scenes
Interview with Ray Harryhausen
Interview with Curator James V. D'arc
Interview with Composer John Morgan
SHE comparison with versions from 1911 and 1925
SHE design process with Ray Harryhausen
SHE Theatrical Trailer
SHE Story Book
Production Stills
Legend Films Trailers
Ray Harryhausen Bio and Filmography
Behind the Scenes Photo Gallery
Advertising Art & Rare Material
Star Portraits
Preproduction Art
1935 US 102 min. Color / B&W Original Aspect Ratio (1.33:1) RAY HARRYHAUSEN and LEGEND FILMS present
a film by IRVING PICHEL and LANSING C. HOLDEN
SHE produced by MERIAN C. COOPER
starring RANDOLPH SCOTT, HELEN GAHAGAN, HELEN MACK, NIGEL BRUCE, and GUSTOV VON SEYFERRITZ
written by RUTH ROSE
based on the novel 'She' by H. RIDER HAGGARD
photographed by J. ROY HUNT
music by MAX STEINER art direction by VAN NEST POLGLASE
special effects by VERNON L. WALKER
directed by IRVING PICHEL and LANSING C. HOLDEN
colorization credits: color producers RAY HARRYHAUSEN, ARNOLD KUNERT, and BARRY SANDREW
creative director ROSEMARY HORVATH
production director JANE HUIZENGA
technical director DAVID D. MARTIN
assistant designer CAZI TENA
Copyright 1935 RKO Radio Pictures, Inc. Renewed Copyright 1962 RKO Radio Pictures, a division of RKO General, Inc.
Licensed from Douris UK Limited.
Special Contents of This Edition: Copyright Legend Films, Inc. All Rights Reserved.
Directors: Irving Pichel, Lansing C. Holden
Starring: Gustav von Seyffertitz, Helen Gahagan, Helen Mack, Nigel Bruce, Randolph Scott
Country: U.S.
Genres: Action-Adventure, Kino Essentials, Sci-Fi / Fantasy, Special Effects
Type: Color and B&W
Year: 1935
Language: English
Length: 102 mins.
Aspect Ratio: 1.33:1
QuickTime: Med
Email a friend
$24.95 $17.47 (30% off) - Preorder
(Available: Aug 24th 2007) DVD info
(Note: DVD not for sale to customers outside U.S. and Canada)
Synopsis
She, created by the same team of special-effects wizards that stunned Hollywood with the original King Kong, is a thrilling tale of adventure, immortality and lost love. A group of explorers, led by the dashing Leo Vincey (Randolph Scott, Ride the High Country), sets out on a dangerous mission in search of the legendary "flame of life," a mysterious force that bestows immortality. The perilous journey takes them North to the heart of a remote glacier, where they are captured by the beautiful She, an independent, powerful, and fearsome woman who rules a fantastic, subterranean kingdom.
Filled with art deco sets, gorgeous costumes, Busby Berkeley-style choreography, and backed by Max Steiner's (King Kong, Gone With the Wind) powerful score, She is pure heart-stopping, eye-popping adventure, sure to delight fans of Raiders of the Lost Ark.
This stunning new edition of She has been painstakingly restored in High Definition from the original 35mm elements, and is here offered in both its original B&W version, and in a newly colorized version created under the direction of legendary effects master Ray Harryhausen. In addition, both films show scenes deleted from the original cut, but which have now been restored back into the film.
SPECIAL FEATURES
2 complete versions of the film: B&W and colorized
Additional scenes
Interview with Ray Harryhausen
Interview with Curator James V. D'arc
Interview with Composer John Morgan
SHE comparison with versions from 1911 and 1925
SHE design process with Ray Harryhausen
SHE Theatrical Trailer
SHE Story Book
Production Stills
Legend Films Trailers
Ray Harryhausen Bio and Filmography
Behind the Scenes Photo Gallery
Advertising Art & Rare Material
Star Portraits
Preproduction Art
1935 US 102 min. Color / B&W Original Aspect Ratio (1.33:1) RAY HARRYHAUSEN and LEGEND FILMS present
a film by IRVING PICHEL and LANSING C. HOLDEN
SHE produced by MERIAN C. COOPER
starring RANDOLPH SCOTT, HELEN GAHAGAN, HELEN MACK, NIGEL BRUCE, and GUSTOV VON SEYFERRITZ
written by RUTH ROSE
based on the novel 'She' by H. RIDER HAGGARD
photographed by J. ROY HUNT
music by MAX STEINER art direction by VAN NEST POLGLASE
special effects by VERNON L. WALKER
directed by IRVING PICHEL and LANSING C. HOLDEN
colorization credits: color producers RAY HARRYHAUSEN, ARNOLD KUNERT, and BARRY SANDREW
creative director ROSEMARY HORVATH
production director JANE HUIZENGA
technical director DAVID D. MARTIN
assistant designer CAZI TENA
Copyright 1935 RKO Radio Pictures, Inc. Renewed Copyright 1962 RKO Radio Pictures, a division of RKO General, Inc.
Licensed from Douris UK Limited.
Special Contents of This Edition: Copyright Legend Films, Inc. All Rights Reserved.
07-24-07, 03:28 PM
#303
Senior Member
Join Date: Apr 2005
Posts: 363
Likes: 0
Received 0 Likes
on
0 Posts
In addition, both films show scenes deleted from the original cut, but which have now been restored back into the film.
08-04-07, 01:12 PM
#305
Senior Member
Join Date: Apr 2004
Location: Bolton, United Kingdom
Posts: 365
Likes: 0
Received 0 Likes
on
0 Posts
DVD Savant's review of She is here - click!
A small quote: "...Ray reappears to laud the colorization process and parrots the defeatist (or, just mercantile) excuse that young people won't want to watch a film that isn't in color. Oddly, his criticisms of older colorization attempts apply equally to the new version - the tinting is grossly limited in range and the process makes mattes, etc., look more artificial than ever.
"As in an informercial, Legend Films executives and creatives shamelessly use Ray as a PR battering ram. They assure us that Harryhausen contacted them to colorize his old pictures, and declare that colorization is now 'fully accepted.' A spokesman uses a roundabout argument to infer that, because directors Lucas, Scorsese and Spielberg are Harryhausen's acolytes, Ray's approval of colorization should convince them to change their attitudes. It's all self-serving BS. The real purpose of the restoration docu is to sell other 'intellectual rights holders' on rejuvenating their film libraries through the miracle of color tinting."
A small quote: "...Ray reappears to laud the colorization process and parrots the defeatist (or, just mercantile) excuse that young people won't want to watch a film that isn't in color. Oddly, his criticisms of older colorization attempts apply equally to the new version - the tinting is grossly limited in range and the process makes mattes, etc., look more artificial than ever.
"As in an informercial, Legend Films executives and creatives shamelessly use Ray as a PR battering ram. They assure us that Harryhausen contacted them to colorize his old pictures, and declare that colorization is now 'fully accepted.' A spokesman uses a roundabout argument to infer that, because directors Lucas, Scorsese and Spielberg are Harryhausen's acolytes, Ray's approval of colorization should convince them to change their attitudes. It's all self-serving BS. The real purpose of the restoration docu is to sell other 'intellectual rights holders' on rejuvenating their film libraries through the miracle of color tinting."
08-04-07, 11:42 PM
#306
DVD Talk Gold Edition
Originally Posted by John Hodson
DVD Savant's review of She is here - click!
Well, everyone's entitled to their own opinion.
Harlan Ellison's opinion about opinions not withstanding.
08-05-07, 11:47 AM
#307
Senior Member
Join Date: Apr 2005
Posts: 363
Likes: 0
Received 0 Likes
on
0 Posts
Originally Posted by Jon2
In some people's opinion (mine, but I doubt I'm alone), negative comments (or insinuations) about certain people (and Ray is one of those people) says more about the person making the comments, than the comments say about their target.
I actually tend to agree with Savant's criticisms of Legend's logic (i.e., Legend seems to suggest that, since Ray Harryhausen was a filmmaking genius, Harryhausen's acceptance of colorization means that everyone else should be OK with it, too). But I also get the feeling that Savant has been reviewing too many movies that are connected to Harryhausen somehow. He mentions being a little over-saturated by Harryhausen.
08-05-07, 05:59 PM
#308
DVD Talk Gold Edition
Originally Posted by Ambassador
I'm not sure I understand what you're saying. Are you criticizing Savant for criticizing Harryhausen? Or are you agreeing with Savant that Harryhausen's opinions don't matter? Your multiple references to "some people's," "certain people," "those people," and "the person" is a bit too circuitous for me to follow, and I'm genuinely interested to know what you mean.
What I should have said was that I think a lot of people (such as myself) are going to heartily disagree with DVDSavant on any criticism of Ray and think such criticism is a negative reflection on Savant. But then again, the job of a critic is to be negative, isn't it?
Originally Posted by Ambassador
I actually tend to agree with Savant's criticisms of Legend's logic (i.e., Legend seems to suggest that, since Ray Harryhausen was a filmmaking genius, Harryhausen's acceptance of colorization means that everyone else should be OK with it, too). But I also get the feeling that Savant has been reviewing too many movies that are connected to Harryhausen somehow. He mentions being a little over-saturated by Harryhausen.
FWIW, I don't disagree with Legend or Ray about their reasoning that color attracts younger viewers. I know my evidence is strictly andectotal, but I've just been around too many younger people (and I'm not talking about children) whose attitude that B&W is boring and who have no interest in watching one. It's a turn-off.
I don't share that attitude, however. I was a youngster in the 50s/60s transition and even after my parents got a color TV (1962), most of the TV I watched was B&W. Some of my favorite TV shows are 50's B&W series like Perry Mason, Mr. Lucky & Peter Gunn. As for movies, the original Kong Casablanca and Citizen Kane are on my Top 10 list.
Maybe Savant is just a "little oversaturated with Harryhausen."
08-06-07, 11:13 AM
#309
Senior Member
Join Date: Apr 2005
Posts: 363
Likes: 0
Received 0 Likes
on
0 Posts
Originally Posted by Jon2
FWIW, I don't disagree with Legend or Ray about their reasoning that color attracts younger viewers. I know my evidence is strictly andectotal, but I've just been around too many younger people (and I'm not talking about children) whose attitude that B&W is boring and who have no interest in watching one. It's a turn-off.
However, it would be interesting if somebody actually performed some sort of non-biased study. I mean, you and I are both relying on anecdotal evidence and thought-experiments. But I don't see any hard evidence to back up what is one of Legend's central claims. To me, colorization is such a non-issue as far as getting kids "into" old movies is concerned.
08-06-07, 12:07 PM
#310
Suspended
Thread Starter
I'm a boomer and a film-buff and also a certified snob. I don't give a rat's patoot what "the kids" think. I like colourized films - when the job is well done, of course - because I like the pretty colours and the artistry involved.
08-06-07, 01:53 PM
#311
Senior Member
Join Date: Apr 2005
Posts: 363
Likes: 0
Received 0 Likes
on
0 Posts
Originally Posted by baracine
I'm a boomer and a film-buff and also a certified snob. I don't give a rat's patoot what "the kids" think. I like colourized films - when the job is well done, of course - because I like the pretty colours and the artistry involved.
08-06-07, 07:41 PM
#312
DVD Talk Gold Edition
Originally Posted by Ambassador
See, I don't buy the logic of that argument at all. I can't imagine that color is some sort of magic ingredient that's going to suddenly make kids clamor to see My Man Godfrey, Citizen Kane, She, or whatever. ...
BTW, when I say young viewers or "kids," I'm referring to anyone half my age or more, say 25 and younger.
Originally Posted by Ambassador
To me, colorization is such a non-issue as far as getting kids "into" old movies is concerned.
IMO, if the point is to get "kids" interested in "old" movies, then you're going to have to overcome (what many kids have told me is) their dislike of B&W.
It's one thing to get someone involved in something when they simply have little or no interest in it. It's quite another trying to get someone involved when they have an active aversion.
Heck, my son is 25, and any time I ask him if he wants to watch a movie with me, the first thing he says is, "Is it B&W?" Like me, he's a genre movie fan (SF, fantasy, etc.) who's seen most of Harryhausen's movies (usually with me), but he won't watch any of Ray's or any B&W films.
I'm hoping viewings of the colorized and then the original 20 Million Miles will convince him to give them a try.
08-07-07, 10:31 AM
#313
Senior Member
Join Date: Apr 2005
Posts: 363
Likes: 0
Received 0 Likes
on
0 Posts
Originally Posted by Jon2
IMHO, it's a non-issue because you don't believe that kids (in general) have the attitude that B&W is an issue for them. You might want to check with some of them.
What I'm saying is that I just don't see that many young people who are "fooled" (if you will) into watching an old movie just because it gets colorized. The movie itself remains "old," and it uses the same slower pacing, less frequent editing, etc. that characterizes the grammar of films made before, say, the 1980s.
The problem of young people disliking older movies just because they're old also extends to movies that were originally made in color. I suspect that the perceived garishness of Technicolor and its lack of realism is just as much of a stumbling-block to young people as is B&W. In other words, my own anecdotal evidence suggests to me that colorization isn't a proven means of winning new/young converts to a love for old movies.
But I'm getting the feeling that this is a debate that's been hashed over before in this thread. So I don't want to belabor the point. I'm merely explaining why people like myself (and presumably Savant) aren't convinced that the central tenet of Legend's philosophy is true. But as I mentioned above, I'd love to see some objective research that indicates one way or the other.
EDIT: BTW, it's worth pointing out that TCM's "Story of Movies" project (which introduces film studies into middle school curriculum) has met with some degree of success with adolescent students -- even though all three of the films utilized are B&W (To Kill a Mockinbird, Mr. Smith Goes to Washington, and The Day the Earth Stood Still). The relative success of this project suggest that kids are not as automatically averse to B&W as received wisdom would have us believe.
Last edited by Ambassador; 08-07-07 at 10:39 AM.
08-07-07, 10:50 AM
#314
Suspended
Thread Starter
Ambassador, I tend to agree with you. I think that the affirmation "We are colourizing films to introduce younger people to film classics" is disingenuous. I think what it really means is this: "We are colourizing films because when we sell them as a package to TV networks they will naturally prefer the colour version to the original B&W for their markets". Pretty much only TCM plays B&W films nowadays. Also, modern consumers who might consider buying, say, "The Beast from 20,000 Fathoms" for their DVD collection will naturally prefer a value-added package with a colourized version.
08-07-07, 01:46 PM
#315
Senior Member
Join Date: Apr 2005
Posts: 363
Likes: 0
Received 0 Likes
on
0 Posts
I think you're probably right, baracine, about Legend's logic.
However, there are several channels other than TCM that show B&W films in B&W. For instance, I know that Fox Movie Channel does, so does IFC and Sundance. And I've never known Flix to show a colorized movie -- but then again, I don't recall the last time I saw a B&W movie on that station, either. Now, admittedly, TCM shows many more B&W movies than all those other channels combined. But frankly, I can't remember the last time that I saw a colorized movie on TV. I guess some of the networks may.
Of course, it's also worth saying that only TCM, IFC, and Sundance always show movies in their correct aspect ratio. Fox is getting better about that, but AMC, Flix, the Western Channel, etc. seem to favor pan-and-scan. And for a purist like myself, that's just as bad as colorization. (I can't even begin to imagine trying to watch a Sergio Leone movie in pan-and-scan.)
However, there are several channels other than TCM that show B&W films in B&W. For instance, I know that Fox Movie Channel does, so does IFC and Sundance. And I've never known Flix to show a colorized movie -- but then again, I don't recall the last time I saw a B&W movie on that station, either. Now, admittedly, TCM shows many more B&W movies than all those other channels combined. But frankly, I can't remember the last time that I saw a colorized movie on TV. I guess some of the networks may.
Of course, it's also worth saying that only TCM, IFC, and Sundance always show movies in their correct aspect ratio. Fox is getting better about that, but AMC, Flix, the Western Channel, etc. seem to favor pan-and-scan. And for a purist like myself, that's just as bad as colorization. (I can't even begin to imagine trying to watch a Sergio Leone movie in pan-and-scan.)
08-07-07, 01:52 PM
#316
Senior Member
Join Date: Jan 2007
Posts: 260
Likes: 0
Received 0 Likes
on
0 Posts
Chromachoice / Had Legend signed with Sony Pictures?
Legend Films never used chromachoice option to switch beetween colorized and B&W versions, but just option for versions on DVD menu.
Now in the first work for Sony Pictures. 20 Milion Miles to Earth-special edition, the option is reported available. So I presume chromachoice is registred for Sony Pictures.
All colorizations made for Sony Pictures, before 20 Milion Milles to Eart, was made by West Wing Studios, who also colorized about 17 Three Stooges episodes, include 3 episodes that Legend Films also colorized by themselves.
I would like to ask Barry if now Legend Films is the new official colorization company to work with Sony Pictures.
Here some images and reviews of 20 Milion Miles to Earth:
http://www.dvdjournal.com/reviews/00...stoearth.shtml
http://dvd.ign.com/articles/805/805445p1.html
They said that rear projection FX technic it's now more noticeable in colors than was in B&W. This happen cause rear projection technics back then had lower density (pale) than the obejcts in first plane. In color the colors get also lower density, making it different to the colors of first plane elements.
This could be corrected, despite alter the B&W relations along the frame. By rotoscoping the obejcts in first plane, isolating them, so just the background could be contrast correctd to compensate the lack of density.
Anyway the colorization have all ellements already sellected. Would require just a bit more precision to rotoscope ellements in rear projection FX scenes, cause it would be worked changing the B&W values, and any little fail could be noticed (color little fails are not notiable mostly since human eye perception to colors are not precise like perception for tones).
I'm sure that if Ray Harryhausen had bether rear projection technics in the 50's, he would made use of that.
My humble sugestion for Barry and Ray: Try to fix the rear projection effects. This will avoid critics that clains colorization spoils vintage FX technics making it more unrealistic.
And for those guys here, critizing Ray for colorize his own movies, please stop that foolish. It's his movie and he can do the monster even pink or purple if he want. Like said a critic of colorization once, someting like:
"The film belongs to the director and only hin can alter it. If Martin Scorcese want to colorize Raging Bull, he can do it making Robert De Niro's hair as green, if he wish so."
Now in the first work for Sony Pictures. 20 Milion Miles to Earth-special edition, the option is reported available. So I presume chromachoice is registred for Sony Pictures.
All colorizations made for Sony Pictures, before 20 Milion Milles to Eart, was made by West Wing Studios, who also colorized about 17 Three Stooges episodes, include 3 episodes that Legend Films also colorized by themselves.
I would like to ask Barry if now Legend Films is the new official colorization company to work with Sony Pictures.
Here some images and reviews of 20 Milion Miles to Earth:
http://www.dvdjournal.com/reviews/00...stoearth.shtml
http://dvd.ign.com/articles/805/805445p1.html
They said that rear projection FX technic it's now more noticeable in colors than was in B&W. This happen cause rear projection technics back then had lower density (pale) than the obejcts in first plane. In color the colors get also lower density, making it different to the colors of first plane elements.
This could be corrected, despite alter the B&W relations along the frame. By rotoscoping the obejcts in first plane, isolating them, so just the background could be contrast correctd to compensate the lack of density.
Anyway the colorization have all ellements already sellected. Would require just a bit more precision to rotoscope ellements in rear projection FX scenes, cause it would be worked changing the B&W values, and any little fail could be noticed (color little fails are not notiable mostly since human eye perception to colors are not precise like perception for tones).
I'm sure that if Ray Harryhausen had bether rear projection technics in the 50's, he would made use of that.
My humble sugestion for Barry and Ray: Try to fix the rear projection effects. This will avoid critics that clains colorization spoils vintage FX technics making it more unrealistic.
And for those guys here, critizing Ray for colorize his own movies, please stop that foolish. It's his movie and he can do the monster even pink or purple if he want. Like said a critic of colorization once, someting like:
"The film belongs to the director and only hin can alter it. If Martin Scorcese want to colorize Raging Bull, he can do it making Robert De Niro's hair as green, if he wish so."
08-21-07, 08:54 AM
#317
Suspended
Thread Starter
DVD Beaver has reviewed She 2-disc edition and LIKED IT!!!
http://www.dvdbeaver.com/film2/DVDReviews32/she.htm
I now have no choice but to double-dip.
About 20 Millions Miles to Earth: I liked the Cromachoice option that lets you toggle between versions with the "Angle" button. I didn't like that the opening outer space montage was so grainy in the B&W version that the colourization looked awkward in that crucial part of the film. I am always in favour of getting rid of grain by any means possible. And that should be a no-brainer when the film has to be colourized.
http://www.dvdbeaver.com/film2/DVDReviews32/she.htm
The Kino/Legend DVD package consists of 2 discs - the full 102-minute cut in both black and white and restored colorized version on the progressive and dual-layered disc one (with an occasionally awkward but enthusiastic commentary offered for the color edition by Harryhausen and Mark Cotta Vaz) and some extensive extras on the single layered second disc. It looked exceptionally good to me and although I am a purist I loved the 'feel' of the colorization appearance. This is such a hokey fantasy, adventure yarn - totally old-fashioned in its most endearing sense - that I can't see anyone shaking their fist too vociferously at the colorized edition since the original black and white is a couple of menu clicks away. One other difference that I noted was that the colorized version has picture boxed the opening credits (as frequently done by Warner on vintage films) where they are full screen on the black and white edition. There are no subtitles offered and the audio is expectantly on the weak end of the scale but it didn't impinge upon my viewing in the least bit.
On Disc 2 there is a 12 minute opening interview/introduction with Ray Harryhausen followed by another where he discusses the colorization process for about 9 minutes. We are given a text bio and filmography of Mr. Harryhausen and then some other interviews - one 16X 9 enhanced with composer John Morgan for almost 20 minutes where he talks of the Max Steiner bombastic score. Then another with Cooper expert and Brigham Young University curator James V. D'Arc (20:19 - also 16X9). We also have a featurette - 'She - Visions of the Past' - which lasts 30 minutes and shows clips from the 1911 and 1925 versions. There is a kind of useless storybook, some advertising art promos in a gallery and also some photo galleries (including behind the scenes, production stills and star portraits), a She trailer and some cool but weather-beaten Sci-fi Toys commercials.
On Disc 2 there is a 12 minute opening interview/introduction with Ray Harryhausen followed by another where he discusses the colorization process for about 9 minutes. We are given a text bio and filmography of Mr. Harryhausen and then some other interviews - one 16X 9 enhanced with composer John Morgan for almost 20 minutes where he talks of the Max Steiner bombastic score. Then another with Cooper expert and Brigham Young University curator James V. D'Arc (20:19 - also 16X9). We also have a featurette - 'She - Visions of the Past' - which lasts 30 minutes and shows clips from the 1911 and 1925 versions. There is a kind of useless storybook, some advertising art promos in a gallery and also some photo galleries (including behind the scenes, production stills and star portraits), a She trailer and some cool but weather-beaten Sci-fi Toys commercials.
I now have no choice but to double-dip.
About 20 Millions Miles to Earth: I liked the Cromachoice option that lets you toggle between versions with the "Angle" button. I didn't like that the opening outer space montage was so grainy in the B&W version that the colourization looked awkward in that crucial part of the film. I am always in favour of getting rid of grain by any means possible. And that should be a no-brainer when the film has to be colourized.
Last edited by baracine; 08-21-07 at 09:02 AM.
08-22-07, 01:39 PM
#318
Senior Member
Join Date: Jan 2007
Posts: 260
Likes: 0
Received 0 Likes
on
0 Posts
See the first full sizescreen capurture on DVD Beaver review: The globe it's pure blue, without any other color for continents.
Uhhh, quality controll its needing more atention.....
In Captain January, Shiley Temple film colorized by Legend Films, there are several mistakes, and even minor color bleeding in some edges of some objects, for few scenes. Also the strips of Shirley 's shirt, colored like red, blue, get mess lot of times, since thay used detection based in simple shade of tone, so in a are the strip is dark it got red and in a area less dark got blue, this for,the nsame strip.
In other scene the saturation channe seens to be not correponding well to the tones, like it was missadjusted.
Now that competition in colorization market is practically dead, I fear Legend Films stop ivest money in quality improvements like did in begining.
Uhhh, quality controll its needing more atention.....
In Captain January, Shiley Temple film colorized by Legend Films, there are several mistakes, and even minor color bleeding in some edges of some objects, for few scenes. Also the strips of Shirley 's shirt, colored like red, blue, get mess lot of times, since thay used detection based in simple shade of tone, so in a are the strip is dark it got red and in a area less dark got blue, this for,the nsame strip.
In other scene the saturation channe seens to be not correponding well to the tones, like it was missadjusted.
Now that competition in colorization market is practically dead, I fear Legend Films stop ivest money in quality improvements like did in begining.
08-23-07, 07:27 AM
#319
Suspended
Thread Starter
Originally Posted by Alfred Bergman
See the first full sizescreen capurture on DVD Beaver review: The globe it's pure blue, without any other color for continents.
Uhhh, quality controll its needing more atention.....
In Captain January, Shiley Temple film colorized by Legend Films, there are several mistakes, and even minor color bleeding in some edges of some objects, for few scenes. Also the strips of Shirley 's shirt, colored like red, blue, get mess lot of times, since thay used detection based in simple shade of tone, so in a are the strip is dark it got red and in a area less dark got blue, this for,the nsame strip.
In other scene the saturation channe seens to be not correponding well to the tones, like it was missadjusted.
Now that competition in colorization market is practically dead, I fear Legend Films stop ivest money in quality improvements like did in begining.
Uhhh, quality controll its needing more atention.....
In Captain January, Shiley Temple film colorized by Legend Films, there are several mistakes, and even minor color bleeding in some edges of some objects, for few scenes. Also the strips of Shirley 's shirt, colored like red, blue, get mess lot of times, since thay used detection based in simple shade of tone, so in a are the strip is dark it got red and in a area less dark got blue, this for,the nsame strip.
In other scene the saturation channe seens to be not correponding well to the tones, like it was missadjusted.
Now that competition in colorization market is practically dead, I fear Legend Films stop ivest money in quality improvements like did in begining.
You just have to see the whole DVD before venturing an opinion. The sacrificial dance alone is so bewildering it marks a major advance in the history of colourization.
09-07-07, 05:41 PM
#320
Suspended
Thread Starter
More love for the colorized Turner King King laserdisc
I've gone back to watching the original "King Kong" in colour on my ultrarare Turner laserdisc.
The pluses: The image is much less grainy than the WB DVD. The sound has been made genuine surround stereo with directional dialogue and sound effects and all-englobing music track. The picture has more height than the DVD.
The minuses: The colours are a little naïve, which to me is part of their charm. Information on the left and right of the picture is overscanned on my rear projection TV, even though it's still there and might be visible on a TV with a zoom out feature.
I still think this film should be recolourized, possibly under the supervision of Ray Harryhausen, just like he did for "She", which is a wholehearted success, achieved from aprint that is not any more brilliant than "King Kong". I am not making the same wish for "The Last Days of Pompei", which remains a very deeply-flawed film, with only so-so special effects.
(Colourized publicity still)
The Turner colourization, available on laserdic and a few DVD bootlegs
The pluses: The image is much less grainy than the WB DVD. The sound has been made genuine surround stereo with directional dialogue and sound effects and all-englobing music track. The picture has more height than the DVD.
The minuses: The colours are a little naïve, which to me is part of their charm. Information on the left and right of the picture is overscanned on my rear projection TV, even though it's still there and might be visible on a TV with a zoom out feature.
I still think this film should be recolourized, possibly under the supervision of Ray Harryhausen, just like he did for "She", which is a wholehearted success, achieved from aprint that is not any more brilliant than "King Kong". I am not making the same wish for "The Last Days of Pompei", which remains a very deeply-flawed film, with only so-so special effects.
(Colourized publicity still)
The Turner colourization, available on laserdic and a few DVD bootlegs
09-08-07, 06:06 PM
#323
DVD Talk Special Edition
Join Date: Sep 2002
Location: Georgia, USA
Posts: 1,030
Likes: 0
Received 0 Likes
on
0 Posts
Originally Posted by baracine
I've gone back to watching the original "King Kong" in colour on my ultrarare Turner laserdisc.
The pluses: The image is much less grainy than the WB DVD. The sound has been made genuine surround stereo with directional dialogue and sound effects and all-englobing music track. The picture has more height than the DVD.
The pluses: The image is much less grainy than the WB DVD. The sound has been made genuine surround stereo with directional dialogue and sound effects and all-englobing music track. The picture has more height than the DVD.
As for genuine stereo, it's unlikely that Turner had separate DME (dialogue-music-effects) isolated tracks, but rather it utilized something like Chace stereoization of the original mono.
09-08-07, 06:21 PM
#324
Suspended
Thread Starter
Originally Posted by PatrickMcCart
When DVNR and heavy filtering is applied to a film, it becomes less grainy. It also becomes less sharp. Some modern processes are able to reduce grain while keeping sharpness (Lowry/DTS Digital Images), but at the time of Kong's colorization, that technology didn't exist yet (obviously).
As for genuine stereo, it's unlikely that Turner had separate DME (dialogue-music-effects) isolated tracks, but rather it utilized something like Chace stereoization of the original mono.
09-14-07, 01:49 PM
#325
Senior Member
Join Date: Jan 2007
Posts: 260
Likes: 0
Received 0 Likes
on
0 Posts
Indian films getting colorization
Hey folks, check out those videos.
Seens Indian own companies are colorizing their B&W films. The process seens old compared to Legend Films technology, remembering a bit Tuner times.
I remamber in a article on web about severa indian films being colorized by Indian companies.
http://www.youtube.com/watch?v=8zc2xSXb5Y4 (see how water springs looks like blue ink)
http://www.youtube.com/watch?v=S19AJL--S7Y
http://www.youtube.com/watch?v=ZIqUHTUBa3A
Seens Indian own companies are colorizing their B&W films. The process seens old compared to Legend Films technology, remembering a bit Tuner times.
I remamber in a article on web about severa indian films being colorized by Indian companies.
http://www.youtube.com/watch?v=8zc2xSXb5Y4 (see how water springs looks like blue ink)
http://www.youtube.com/watch?v=S19AJL--S7Y
http://www.youtube.com/watch?v=ZIqUHTUBa3A