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PostPosted: Fri Oct 13, 2006 10:30 pm 
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Lancelot du Lac (Spain R2)
Anamorphic. Spanish subtitles fixed but not burnt-in.

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For comparison with New Yorker R1.


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PostPosted: Sat Oct 14, 2006 11:15 am 
Waster of Cinema
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Robert Bresson's, The Devil, Probably
- Spanish DVD
- French subtitles
- Spanish subtitles
- No English subtitles, unfortunately - where is the Art Eye edition? :cry:

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From MoC's Bresson News Column page


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PostPosted: Sun Oct 15, 2006 6:09 pm 
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Gordon wrote:
Robert Bresson's, The Devil, Probably
- Spanish DVD
- French subtitles
- Spanish subtitles
- No English subtitles, unfortunately - where is the Art Eye edition? :cry:

No French subtitles, either, in fact. Just Spanish subs which, as with Intermedio's other Bressons, are fixed but not ingrained.


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PostPosted: Mon Oct 16, 2006 4:01 am 
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Deserto Rosso/Red Desert R4 Madman/AV Channel

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I cannot begin to say how wonderful this restoration is! (But DAMN the yellow subs.)


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PostPosted: Mon Oct 16, 2006 6:09 am 
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Yella' subs! Oh, shit. This is one film where introducing the colour yellow is more than just annoying - it's somewhat damaging to the aesthetics. At least they are removeable.

Looks great, but I still wouldn't mind seeing a comparison with the Italian DVD. Here's the DVD Beaver comp of the Image R1 and Russian R5: www.dvdbeaver.com/film/DVDCompare11/red_desert.htm


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PostPosted: Mon Oct 16, 2006 6:27 am 
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OMG, that's lovely... My copy despatched from ezydvd last Wed, so should be here soon... And it's the bin for my old Image disc... How's the commentary track, David?...


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PostPosted: Mon Oct 16, 2006 7:34 am 
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Not there yet Ellipsis.

I am still reeling from Antonioni's mise-en-scene - the way color becomes the dominant "character" in the movie, intersecting, observing, flooding, enhancing, draining the human beings in this incredible movie.

I have not been able to watch any of the crapoid TV prints since first release when I was VERY young, and my appalling memory was probably guarding many of the usual doubts. But not any more. The fluidity of the camera, seemingly liberated from the narrative requirements of the characters, only ever pausing to engage with shards or blocks of color to bring your eye to a stop. This movie literally "takes off" from the last shot of l'Eclisse. Staggering.

Jesus! havent even watched the documentary yet. Whatever It is.


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PostPosted: Mon Oct 16, 2006 5:59 pm 
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I too have ordered this and am very miffed by the yellow subs :evil:
I sent an email to the DVD producer (it made me feel a little better...) I doubt I'll get a reply!!

Just thought it would be interesting to post Tarkovskij's thoughts on the use of colour in The Red Desert:

Quote:
The Red Desert is the worst of his films after Il Grido. The colour is pretentious, quite unlike Antonioni usually, and the editing is subservient to the idea of colour. It could have been a superb film, tremendously powerful, if only it had been in black-and-white. If The Red Desert had been in black-and-white, Antonioni wouldn't have got high on pictorial aesthetics, he wouldn't have been so concerned with the pictorial side of the film, he wouldn't have shot those beautiful landscapes, or Monica Vitti's red hair against the mists. He would have been concentrating on the action instead of making pretty pictures. In my view the colour has killed the feeling of truth. If you compare The Red Desert to La Notte or L'Eclisse it's obvious how much less good it is.

(source: nostalghia.com)

I'm tempted to write a reply don't even know where to begin! :shock:


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PostPosted: Mon Oct 16, 2006 6:56 pm 
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Simply hilarious!

Tarkovsky of all people should carry on about the deracination of plot! Can't you hear howls of decadence here?

Surely Solaris is as much an exercise in science fiction as it is metaphysics, just as Desert is an excersie in narrative abstraction in which the mise en scene is subservient to or at least directed by the color to create a parallel emotional "narrative", as though the characters (as the absent hangovers from the final street shots of Eclisse) now inhabited another dimension. The use of color in Desert is perhaps the most radical in mainstream cinema (even Zabriskie Point tones the sheer volume of the primaries down.) Only things like Greg Markopoulos' gorgeous Ektahrome movies, or the Agfacolor sequences from Ivan Part 2 or even Brakhage come near it for meaningful chromaticism.

Red Desert is one of the greatest color movies ever made, with the River, Black Narcissus, Princess Yang Kwei Fei, French CanCan .... and this restoration fully does it justice.


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PostPosted: Mon Oct 16, 2006 8:56 pm 
The weekend after next there is an Antonioni retrospective in Melbourne, Australia and all films are apparent NEW prints. This is my schedule:

The Red Desert (Sat Oct 28, 4.15pm)
Blow Up (Sat Oct 28, 6.45pm)
Zabriskie Point (Sat Oct 28, 9.15pm)

L'Avventura (Sun Oct 29, 3.15pm)
La Notte (Sun Oct 29, 6.00pm)
L'Eclisse (Sun Oct 29, 8.30pm)


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PostPosted: Mon Oct 16, 2006 9:12 pm 
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A great pity this season couldn't include I Vinti, with the original soundtracks (English, French and Italian for the distinct episodes.)

This must now be as hard to see as Chung-Kuo, which they did get.


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PostPosted: Tue Oct 17, 2006 1:58 am 

Joined: Thu Jun 08, 2006 4:28 am
Location: San Francisco
Satantango from Clavis Film.

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--
Jan


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PostPosted: Tue Oct 17, 2006 5:54 am 
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Looks Extremely good!

My copy of Gueule d'Amour arrived today but FedEx left a fucking message card so I cant post caps until tomrrow nite.


Ca m'emmerde!


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PostPosted: Tue Oct 17, 2006 9:32 am 
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How frustrating! But it looks like you'll beat me to it. My copy's still passing through the bowels of the French postal system.


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PostPosted: Tue Oct 17, 2006 9:58 am 
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marty wrote:
The weekend after next there is an Antonioni retrospective in Melbourne, Australia and all films are apparent NEW prints. This is my schedule:

The Red Desert (Sat Oct 28, 4.15pm)
Blow Up (Sat Oct 28, 6.45pm)
Zabriskie Point (Sat Oct 28, 9.15pm)

L'Avventura (Sun Oct 29, 3.15pm)
La Notte (Sun Oct 29, 6.00pm)
L'Eclisse (Sun Oct 29, 8.30pm)

Very savvy, Marty. Lucky bastard! :D

Kinsayder wrote:
How frustrating! But it looks like you'll beat me to it. My copy's still passing through the bowels of the French postal system.

La Poste is pretty good, says I. Posta Romana are really terrible. Now that they are in the EU they ought to buck up their ideas.

davidhare wrote:
My copy of Gueule d'Amour arrived today but FedEx left a fucking message card so I can't post caps until tomorrow nite.

Fucking annoying when that happens. Just bung the DVD through the letterbox and fuck off in your van, drongo.


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PostPosted: Tue Oct 17, 2006 10:59 am 
Coppola Killer (give us Napoleon!)
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Dunno, those Satantango caps are jaggied all over the place. See especially the fourth cap. I hope that's a result of the capturing.


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PostPosted: Tue Oct 17, 2006 11:24 am 
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Yes, it looks like interlacing, doesn't it?


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PostPosted: Tue Oct 17, 2006 1:28 pm 

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denti alligator wrote:
Dunno, those Satantango caps are jaggied all over the place. See especially the fourth cap. I hope that's a result of the capturing.

Yes, it's an interlaced transfer. Anyone knows a deinterlacing program for the Mac that reads VOB files directly? I could deinterlace by going throgh DV but that recodes the frames AFAIK. (OTOH so does the JPEG :? )

So the jaggies go away in the normal playback. BUT there remains another problem: the DVD compression is constant-rate and now and then ugly shimmering and sort of "periodic flickering" familiar from cheaply compressed home videos can be seen. Let's hope AE do their own compression of the original whatever-format-it-is-in. The source element, BTW, has reel change marks. Couldn't Bela Tarr insist on a better source? I guess it's a money problem.

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Jan


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PostPosted: Tue Oct 17, 2006 1:39 pm 
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JanPB wrote:
Anyone knows a deinterlacing program for the Mac that reads VOB files directly?

You can choose Deinterlace from the Video menu in VLC. I generally use VLC for screencaps, though it's annoying that there's no way to single-step with VLC.


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PostPosted: Tue Oct 17, 2006 3:26 pm 

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Kinsayder wrote:
JanPB wrote:
Anyone knows a deinterlacing program for the Mac that reads VOB files directly?

You can choose Deinterlace from the Video menu in VLC. I generally use VLC for screencaps, though it's annoying that there's no way to single-step with VLC.

Yes, it's annoying. I'll try to deinterlace those frames tonight, it's only fair to Clavis. OTOH their (is it theirs?) compression is firmly in the Kino and Facets league [-(

--
Jan


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PostPosted: Wed Oct 18, 2006 12:08 am 

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Location: San Francisco
JanPB wrote:
Yes, it's annoying. I'll try to deinterlace those frames tonight, it's only fair to Clavis. OTOH their (is it theirs?) compression is firmly in the Kino and Facets league [-(

Something is funny about either VLC or the disc. No matter which deinterlacing algorithm VLC uses, it produces ugly, blurry, double-image freeze frames. This doesn't make sense since Satantango is a film-derived DVD (obviously) so each interlaced pair correspond to THE SAME film frame. Hence, there can be no ghosting and blurring, by definition. So there is a bug somewhere. Any clues?

A quick note added: it must be the discs because the bad interlacing is seen on freeze frames from Disc III but not on those from Disc II (e.g. Estike with the cat). And on Disc I it changes off and on.

--
Jan


Last edited by JanPB on Wed Oct 18, 2006 11:13 pm, edited 1 time in total.

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PostPosted: Wed Oct 18, 2006 3:12 am 
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Gueule d'Amour Rene Chateau/TFI R2

I apologize for the volume of caps -I could have gone on freezing every frame.


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PostPosted: Wed Oct 18, 2006 3:41 am 
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Location: schreckbabble.wordpress.com/
No eng subs right Dave?

:cry: :cry: :cry: :cry: :cry: :cry: :cry: :cry:

Those fucking caps are stunning...


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 Post subject:
PostPosted: Wed Oct 18, 2006 4:20 am 
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Quel beau travail! Barely a scratch or a fleck of dust. For a 70-year-old film that looks amazing.


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 Post subject:
PostPosted: Wed Oct 18, 2006 5:13 am 
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It is sublime!

Schreck no subs.


Last edited by Anonymous on Wed Oct 18, 2006 11:19 pm, edited 1 time in total.

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