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"SCANNERS REGION CODE UPDATE. We regret to announce that the release of the three Scanners films will now be Region B and not Region Free. We sincerely apologise for this but unfortunately a contractual issue has arisen at the 11th hour which means we are no longer in a position to proceed with a Region Free release as originally intended. We are very sorry indeed for the inconvenience as we know people will have ordered already on this basis and may now need to cancel but unfortunately the coding is something we must now adhere to with this release, as on the majority of releases. Once again apologies, we're extremely disappointed to have to write this post."

Our recent post about the colour-correction of POSSESSION has prompted a lot of interesting discussion here and elsewhere. Our post facility have been working with director Andrzej Zulawski on a shot-by-shot basis, so here's some more detail;

'The source for Possession was the OCN (original camera negative). When transferring the OCN to HD video, it's not as simple as just running it through a machine and then "leaving it alone". Colour correction is an essential part of the process, so that shots match up and so that the film looks the way it was supposed to. During the film's original production, variations in brightness and colour between different takes and scenes are adjusted out by making an optical copy of the OCN and applying tinting effects during that copying process. This is how colour timing was done pre-digital. One reason we don't transfer that copy for Blu-ray is because it's lacking in sharpness (since it's an optical copy).

The purest and sharpest possible "master source" is the original camera negative, the actual film that ran through the camera back in the early 80s. Because this is a stage before the original 1980s optical colour timing, we have to recreate those decisions on the digital transfer and balance the colours and brightness levels to meet the filmmakers' goals.

In the scene shown, the blue tone present in some transfers of the film (and in the "before" image which was adjusted to show those same colours) is specific to the transfer itself. It was not present in the original film.

Audio Commentary with co-writer Frederic Tuten, moderated by Daniel Bird

Mathew2468 wrote:

Audio Commentary with co-writer Frederic Tuten, moderated by Daniel Bird

What's that? Weren't they using the anchor bay commentary? Both?

The Brood is one of director David Cronenberg's most chilling and disturbing works, as shocking today as it was when originally released.

Frank Carveth is becoming increasingly concerned about his ex-wife Nola's secretive treatment at the sinister 'Somafree Institute of Psychoplasmics'. Headed by cult figure Dr Raglan, his controversial and extreme methods seek to unleash his patients rage which take on physical manifestations.

As Nola's increasingly psychoticanger is vented during her sessions, brutal murders befall those at whom it's directed. When Frank's daughter is abducted he is led to Raglan's Insitute and a terrifying, repellant final confrontation, renowned as one of the most notorious scenes in horror cinema.

* First Time on Blu-Ray * Packed with new bonus featues:
Meet the Carveths - Stars Art Hindle & Cindy Hinds
The Look of Rage - Interview with cinematographer Mark Irwin
Producing The Brood - Interview with Producer Pierre
Character For Cronenberg - DavidInterview with Actor Robert A. Silverman
Cronenberg: The Early Years - Writer/Director David Cronenberg discusses how he broke into filmmaking

Calvin wrote:

Mathew2468 wrote:

Audio Commentary with co-writer Frederic Tuten, moderated by Daniel Bird

What's that? Weren't they using the anchor bay commentary? Both?

I'm not sure but neither commentary was mentioned in today's Facebook update.