Re: Kino Lorber Studio Classics Acquisitions
Posted: Sat Aug 03, 2019 6:52 pm
I assume that Scorsese and Roger Deakins’ involvement and time would require some major financial renumeration beyond the usual costs for a 4K restoration.
Looking at the comparisons on beaver, the brightness seems to be about the same for those discs. The Criterion DVDs actually have worse contrast (ofc) and there is no reason to think they were an accurate representation ofonedimension wrote: Sun Aug 04, 2019 3:41 am A bunch of the new releases: Alphaville, the Melvilles and Becker - look to my taste much much too bright, changing their character significantly..
I see what you mean. The cropping looks basically identical. I wonder whether it is the same older master, but for the DVD they boosted the contrast and possibly added sharpening. That is, assuming the captures are accurate.domino harvey wrote: Mon Aug 05, 2019 5:40 am What is going on with Easy Living? Why does DVDBeaver say it's from the same source when they look nothing alike, and am I crazy for thinking it looks worse than the DVD? What am I missing, because at least the DVDs not faded and blurry like Ray Milland's eyesight after a few too many
I can never buy anything based on Gary's comments because his comments are so similar in every review I read. And seemingly any new disc is an improvement over any older release.Rayon Vert wrote: Mon Aug 05, 2019 3:19 pm I had the same reaction as Domino. I ended up buying it yesterday anyway based on Gary's comments but I'll see what it looks like on the screen.
We reached out to them and asked to allow us to scan the camera negative in 4K and have the DP oversee the new transfer and color grading. This would've cost us low five figures, we wouldn't be around for too long even if we spent $20,000 to $25,000 on our masters, not to mention anything even close to the numbers you're posting above.tenia wrote: Tue Jul 30, 2019 8:32 am Extremely surprised to read it would cost that much to do a 4K restoration of a 1997 movie. AFAIK, european 4K restorations rather cost $250k for 35mm movies (and Kundun isn't 3 hours long either). I've only read about the kind of figures discussed here (high 6 - low 7) for extremely prestigious restorations (lavish Technicolor like The Red Shoes or 65mm epics like Lawrence of Arabia or Ben Hur), but not "standard" 35mm movies.
Maybe it's that much more expensive in the US, but maybe a Scorsese movie could be restored at an european lab like L'immagine Ritrovata, since they're heavily involved in the Film Foundation restorations.
I guess the 2010 (early rather than late, see further) HD master is the same than the one released in Germany and Australia (then elsewhere) in May and June 2010. It looks indeed very much decent (which also suggests the materials are in good shape), though it's starting to look dated. The German release of it however is plagued by extreme DNR and EE.
GetHarryPalmer wrote: Fri Jul 19, 2019 10:43 pmWho cares about which house they use, the label/studio oversees and approves the transfer and decide how much works needs to done and how much they're willing to spend. Most U.S. labels work with the same group of mastering houses, Fotokem, Duplitech, Deluxe and so on.FrauBlucher wrote: Fri Jul 19, 2019 10:20 pmThat's not necessarily true. Criterion on their booklets list the houses that do the restorations, as do some of the UK Boutiques. That's why everyone, at least on this forum, knows that Eclair's work is a shit show. I guess the other forums don't pay attention or care about that aspect of the restorations.Kino Insider wrote: Fri Jul 19, 2019 9:43 pm
The label always gets the credit and/or the blame. I guess we could list the company responsible for the restoration, but no one else does. It's always a brand new...
If you check the first page, we list the ones we did and didn't take credit for someone else's restoration. For some of the Paramount titles, we included the following language: 4K scan by Paramount (additional DRS/color correction by KL).
Mr Palmer, see there are folks that care about this stuff.Kino Insider wrote: Mon Aug 05, 2019 9:08 pmWe reached out to them and asked to allow us to scan the camera negative in 4K and have the DP oversee the new transfer and color grading. This would've cost us low five figures, we wouldn't be around for too long even if we spent $20,000 to $25,000 on our masters, not to mention anything even close to the numbers you're posting above.tenia wrote: Tue Jul 30, 2019 8:32 am Extremely surprised to read it would cost that much to do a 4K restoration of a 1997 movie. AFAIK, european 4K restorations rather cost $250k for 35mm movies (and Kundun isn't 3 hours long either). I've only read about the kind of figures discussed here (high 6 - low 7) for extremely prestigious restorations (lavish Technicolor like The Red Shoes or 65mm epics like Lawrence of Arabia or Ben Hur), but not "standard" 35mm movies.
Maybe it's that much more expensive in the US, but maybe a Scorsese movie could be restored at an european lab like L'immagine Ritrovata, since they're heavily involved in the Film Foundation restorations.
I guess the 2010 (early rather than late, see further) HD master is the same than the one released in Germany and Australia (then elsewhere) in May and June 2010. It looks indeed very much decent (which also suggests the materials are in good shape), though it's starting to look dated. The German release of it however is plagued by extreme DNR and EE.
Low five figures ? That's far from the high six - low seven mentioned originally. I understand your budget rationale though, especially considering how many titles you're releasing. I'd have however guessed Kundun to be a big enough title to warrant that.Kino Insider wrote:We reached out to them and asked to allow us to scan the camera negative in 4K and have the DP oversee the new transfer and color grading. This would've cost us low five figures, we wouldn't be around for too long even if we spent $20,000 to $25,000 on our masters, not to mention anything even close to the numbers you're posting above.tenia wrote: Tue Jul 30, 2019 8:32 am Extremely surprised to read it would cost that much to do a 4K restoration of a 1997 movie. AFAIK, european 4K restorations rather cost $250k for 35mm movies (and Kundun isn't 3 hours long either). I've only read about the kind of figures discussed here (high 6 - low 7) for extremely prestigious restorations (lavish Technicolor like The Red Shoes or 65mm epics like Lawrence of Arabia or Ben Hur), but not "standard" 35mm movies.
Maybe it's that much more expensive in the US, but maybe a Scorsese movie could be restored at an european lab like L'immagine Ritrovata, since they're heavily involved in the Film Foundation restorations.
I guess the 2010 (early rather than late, see further) HD master is the same than the one released in Germany and Australia (then elsewhere) in May and June 2010. It looks indeed very much decent (which also suggests the materials are in good shape), though it's starting to look dated. The German release of it however is plagued by extreme DNR and EE.
Perhaps it is a matter of taste and not correctness. I believe Americans can write a check of USD 25,000 and 25,000.00.tenia wrote: Tue Aug 06, 2019 7:21 amLow five figures ? That's far from the high six - low seven mentioned originally. I understand your budget rationale though, especially considering how many titles you're releasing. I'd have however guessed Kundun to be a big enough title to warrant that.
If we can't get more Sturges on Blu, it isn't the coffee, it's the bunk.