criterionforum.org

cinemartin wrote:When I saw it again at Lincoln center, they definitely framed it at academy, with the 35mm footage having black at the top and bottom and the 16mm footage looking full. Does this seem right?

I THINK that's correct, now that you mention it. The 16mm footage was immediately noticeable, and I don't think it was just the hit in PQ, I think seeing those black bars above and below the 35mm footage must have given it away right off the bat.

Anxiously awaiting it starting shipment - though they'd never use such strong wording the impression I get from Beaver's tantalizingly long thoughts on the set is that everything concievable has been done absolutely perfectly. So excited.

He says it includes a perfect-bound book but doesn't explore this in any detail; as Arrow has indicated this had been changed to a hardback I'm curious whether or not they were simply going off the original unchanged sell-sheet/web listing as to this feature.

(The three other films being region free is interesting, as I'd had a suspicion maybe Criterion would be putting them out in the short future over here, but I suppose there's no immediate plans)

The explanation as to why the Arrow and Carlotta encodes of Out 1 are literally the same down to the merest byte is that David Mackenzie authored both releases and it didn't make sense to encode twice over when there was no logistical/bit-budget reason to do so.

I'm extremely happy the three extra films managed to get region free. Much thanks on that to everyone involved. This already looks like release of the year material. Out of curiosity how irregular would it be to watch each episode separately?

There are arguments both ways, but I appreciate the Feuillade influence so I watched it like I would LES VAMPIRES, an episode every few days. Rivette is very careful with his pacing and atmosphere so you don't need to worry about falling out of sync with the rhythm of the film, each episode allows you plenty of space to get back in touch with it. I wouldn't recommend waiting too long in between each episode though: the plot can get quite dense.

I expect most home viewing will be done episodically; regardless of the director's intention I can't imagine most people have 13-hour-at-a-time holes in their schedules. Don't feel bad about it, it won't be irregular at all.

I barely have a half hour when the kids are awake. I've ordered this set but probably won't be through it by, oh, May of 2022.

cdnchris wrote:I barely have a half hour when the kids are awake. I've ordered this set but probably won't be through it by, oh, May of 2022.

You and me both. I have a 2 month old, so I expect to watch this set sometime in 2033. I just hope I can still find a region-free blu-ray player that works then.

Any idea when we should expect to start receiving our copies? I'm in Melbourne, Australia, so guessing it'll be a couple of weeks at least.

I'm in Adelaide. I emailed Arrow regarding email notification upon shipment. I was told we would be emailed upon shipping with the set being sent Royal mail signed for delivery (takes 1 week). I was told orders should ship a few days before the preorder release date. With my Boro set no email was sent and no tracking number was quoted but customer service is good, if you ask for details they will be forwarded.

Hmm. Duelle and Noroît don't look right to me color-wise (and what's up with Arrow insisting on putting Noroît before Duelle?). Both films are supposed to look dark, and, despite what Gary says, the bd of Noroît looks greener than the dvd (3rd comparison).
Duelle looks like a mess, all yellow. Also, did they redo the opening credits?
BD http://www.dvdbeaver.com/film5/blu-ray_ ... lu-ray.jpg" onclick="window.open(this.href);return false;
DVD (don't mind the wrong AR) http://www.dvdbeaver.com/film2/DVDRevie ... _title.jpg" onclick="window.open(this.href);return false;

Look at the first and second comparisons for Noroît, though, and the opposite is true. And in the 3rd comparison the image is not flooded with green, or even strongly tinted––lots of other colors emerge strongly and seem unimpeded.

Both images look plenty dark to me, as well. I haven't seen these theatrically––maybe you have?––but these look considerably better than the DVDs in the captures. I wouldn't call Duelle a mess when we are getting a much clearer and stronger image. The yellow light in those caps looks more natural to me than the lighting in the comparison DVD captures.

If some of the shots in Duelle contained incandescent lighting, that could explain the warm color temperature. Just because the DVD captures look more "normal" does not necessarily mean that they are correct. We'd have to know more about how the film was shot and what the release prints looked like. Regardless, I am *really* excited about this box set!

The only print I've ever seen in existence of either film over the past decade were extremely faded with a pink hue over anything - so much so that during night scenes you could hardly tell what was going on!

I wasn't involved in the grading of this, but different != wrong. I'd trust the modern film transfer from the negative over an older version, all else being equal.

I've seen both films theatrically several times (though the last time was around 2008) and I've always cherished the french dvd release for being true to the prints I saw (which were in pretty good condition).
Keep in mind that Pierre-William Glenn has nothing to do with Rivette outside OUT and is a very different cinematographer than William Lubtchansky.
Glenn admitted recently in a video roundtable with Jean-Marc Lalanne and somebody else I can't remember that he wanted to emphasize certain hues during color correction in OUT 1 despite nothing of the sort being in the negative, because it felt right to him now in 2015.
Duelle is basically a blue film. Both these shots
http://www.dvdbeaver.com/film5/blu-ray_ ... u-ray_.jpg" onclick="window.open(this.href);return false;
http://www.dvdbeaver.com/film5/blu-ray_ ... u-ray_.jpg" onclick="window.open(this.href);return false;
are supposed to be nighttime at the Aquarium de la Porte Dorée, I'm not sure where that golden light is supposed to come from, just as there was no golden light inside the nightclub before
http://www.dvdbeaver.com/film5/blu-ray_ ... u-ray_.jpg" onclick="window.open(this.href);return false;

From the stories I've heard, Glenn (but also Pierre Lhomme) are the French equivalentd of Tovoli when it comes to restoration grading.
Not saying they're always doing that and that they're doing it to such extreme lengths than Tovoli but still.

That's the thing.
Just to clarify, my problem is not with Arrow, who are just putting out what they were given, or with the fact that it looks different.
It's just that I don't quite trust Glenn.
Had the restoration been supervised by, say, Caroline Champetier, I would think twice about complaining if it looked like it does now.

charal wrote:I'm in Adelaide. I emailed Arrow regarding email notification upon shipment. I was told we would be emailed upon shipping with the set being sent Royal mail signed for delivery (takes 1 week). I was told orders should ship a few days before the preorder release date. With my Boro set no email was sent and no tracking number was quoted but customer service is good, if you ask for details they will be forwarded.

Great, thanks for that. Hopefully we'll be getting a shipping notification sometime this week, then.

I don't own the Les Films de ma Vie disc, nor have I seen the films screened, but my first reaction was that everything looks vastly improved.

I think some incandescent lighting is allowed to come through on Duelle. I'd rather have that, than have the whole disc cooled down.

Petty Bourgeoisie wrote:I don't own the Les Films de ma Vie disc, nor have I seen the films screened, but my first reaction was that everything looks vastly improved.

I think some incandescent lighting is allowed to come through on Duelle. I'd rather have that, than have the whole disc cooled down.

So, you're not familiar with the film but your personal preference is the 'warmer' look? Ok.

But the possibility of Glenn messing with the color correction is still there.

Rivette wrote:[...]We began with number two: it was the screenplay that had taken shape the fastest, the actors were there, and I imperatively wanted to exploit the winter theme. That was Duelle.[...]

Source:http://www.dvdbeaver.com/rivette/ok/dan ... e-pt1.html

dfzp wrote:

Petty Bourgeoisie wrote:I don't own the Les Films de ma Vie disc, nor have I seen the films screened, but my first reaction was that everything looks vastly improved.

I think some incandescent lighting is allowed to come through on Duelle. I'd rather have that, than have the whole disc cooled down.

So, you're not familiar with the film but your personal preference is the 'warmer' look?

Not only that, this release will be the ONLY transfer I ever see of these films and I'll be happy to have them.

Anthony Nield posted this on his twitter.

Edit: 1)No I don't have any information on antnield's glove size, 2)mods please move this to the Arrow packaging thread

dfzp -- did you see Duelle screened at or near the time of its premiere in 1976? If not, what is your basis for knowing what it was _supposed_ to look like? An aged color print, even in "pretty good" shape may not be an accurate representation of the film -- as initially created. Unless someone has documented its initial appearance (or else retains a vivid memory), one simply can not know, can one?