4K Restoration/1982/Blade Runner: Difference between revisions
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* 2008 | * 2008 - Charles de Lauzirika (Restoration Producer) | ||
** " Final Cut went through a state-of-the-art 4K digital intermediate process directly scanned from the negative (for the most part)" | ** " Final Cut went through a state-of-the-art 4K digital intermediate process directly scanned from the negative (for the most part)" | ||
** "The opening titles and end credits were all completely recreated and delivered digitally by Pacific Title in 2007, so there should be no gate weave at all. As for the Ladd Company logo and the rest of the film, Technicolor in Culver City went through and stabilized as many shots and bumpy splices as they could for the Final Cut"" | ** "The opening titles and end credits were all completely recreated and delivered digitally by Pacific Title in 2007, so there should be no gate weave at all. As for the Ladd Company logo and the rest of the film, Technicolor in Culver City went through and stabilized as many shots and bumpy splices as they could for the Final Cut"" | ||
* "the visual effects shots, they are even more apparent in the Final Cut, because they were scanned at 6K and 8K resolution from pristine 65mm elements. There were lots of "ooohs" and "ahhhs" in the room when we first projected those scans in true 4K at MPI on the Warner lot during the restoration process. The detail was pretty staggering." <ref>https://www.hometheaterforum.com/community/threads/blade-runners-different-versions.271659/post-3315077</ref> | ** "the visual effects shots, they are even more apparent in the Final Cut, because they were scanned at 6K and 8K resolution from pristine 65mm elements. There were lots of "ooohs" and "ahhhs" in the room when we first projected those scans in true 4K at MPI on the Warner lot during the restoration process. The detail was pretty staggering." | ||
** "Ridley worked directly with colorists Jill Bogdanowicz and Stephen Nakamura at Technicolor for the Final Cut, while Skip Kimball (a vet of many Ridley Scott transfers) handled the archival versions at Modern VideoFilm. The Workprint was in such bad shape that it went through two passes, first at FotoKem and then again with Skip at Modern." <ref>https://www.hometheaterforum.com/community/threads/blade-runners-different-versions.271659/post-3315077</ref> | |||
** "There was work done on “Blade Runner” that made the movie better, and I helped them, because I had 65mm negatives of all the effects shots stored away that I gave to the studio." <ref>https://www.indiewire.com/2021/05/2001-vfx-douglas-trumbull-cgi-kubrick-1234634471/</ref> | |||
* {{#ev:youtube|JP6-NU7218M||inline|||}} | |||
** John Scheele (Restoration VFX Supervisor) | |||
== Behind the Scenes 16mm == | |||
* {{#ev:youtube|NN-48CkzMbo||inline|||}} | |||
== References == | == References == | ||
<references /> | <references /> | ||
[[Category:Warner Bros Restorations]] | |||
Latest revision as of 15:00, 6 September 2021
- 2008 - Charles de Lauzirika (Restoration Producer)
- " Final Cut went through a state-of-the-art 4K digital intermediate process directly scanned from the negative (for the most part)"
- "The opening titles and end credits were all completely recreated and delivered digitally by Pacific Title in 2007, so there should be no gate weave at all. As for the Ladd Company logo and the rest of the film, Technicolor in Culver City went through and stabilized as many shots and bumpy splices as they could for the Final Cut""
- "the visual effects shots, they are even more apparent in the Final Cut, because they were scanned at 6K and 8K resolution from pristine 65mm elements. There were lots of "ooohs" and "ahhhs" in the room when we first projected those scans in true 4K at MPI on the Warner lot during the restoration process. The detail was pretty staggering."
- "Ridley worked directly with colorists Jill Bogdanowicz and Stephen Nakamura at Technicolor for the Final Cut, while Skip Kimball (a vet of many Ridley Scott transfers) handled the archival versions at Modern VideoFilm. The Workprint was in such bad shape that it went through two passes, first at FotoKem and then again with Skip at Modern." [1]
- "There was work done on “Blade Runner” that made the movie better, and I helped them, because I had 65mm negatives of all the effects shots stored away that I gave to the studio." [2]
-
- John Scheele (Restoration VFX Supervisor)
Behind the Scenes 16mm[edit]
-
References[edit]