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triodelover wrote: The screen caps at Beaver don't appear to reflect that. Mind you, they are different caps.

This film was restored by StudioCanal and the Cinémathèque Francaise with the support of the Franco-American Cultural Fund.

Pierrot le fou was shot in Techniscope, on Eastmancolor emulsion. Techniscope was often used at the time, notably for reasons of economy, because the image only took up two perforations per photogramme. The dupe-positive, also printed Techniscope, is lost. As for the internegative, it had become unusable and was destroyed in 1990. A new internegative element was made on reversible film stock, with an anamorphic image on four frames, which is still used to make prints today. However, this element doesn't reflect the qualities of the original work, particularly in terms of the colormetrics. The restoration resides entirely in the making of a new negative from the digitisation in 2K of the camera negative, which has the original colors of Eastmancolor. As for the sound, the original magnetic elements disappeared, a new negative was made from a positive of the period, respecting the original mono format.

This film was restored by StudioCanal and the Cinémathèque Francaise with the support of the Franco-American Cultural Fund.

Pierrot le fou was shot in Techniscope, on Eastmancolor emulsion. Techniscope was often used at the time, notably for reasons of economy, because the image only took up two perforations per photogramme. The dupe-positive, also printed Techniscope, is lost. As for the internegative, it had become unusable and was destroyed in 1990. A new internegative element was made on reversible film stock, with an anamorphic image on four frames, which is still used to make prints today. However, this element doesn't reflect the qualities of the original work, particularly in terms of the colormetrics. The restoration resides entirely in the making of a new negative from the digitisation in 2K of the camera negative, which has the original colors of Eastmancolor. As for the sound, the original magnetic elements disappeared, a new negative was made from a positive of the period, respecting the original mono format.

SENSO (1954, d. Luchino Visconti) – Restored by StudioCanal, Centro Sperimentale di Cinematografia/Cineteca Nazionale, Cineteca di Bologna L’Immagine Ritrovata. Funding provided by GUCCI, The Film Foundation, and Comitato Italia 150. In Italian with English subtitles, 123 min.

perkizitore wrote:Nothing, i just like variety.

gyorgys wrote:Inland Empire

peerpee wrote:It won't just be a magnification of DV's deficiencies

evillights wrote:So, regarding Contempt... Unless I missed it, no-one else (including DVDBeaver) has noticed that on this StudioCanal BD release, something between half and one-third of the feature is in up-rezzed SD? Leaping from HD and up-rezzed SD from one shot to the next, often within the same scene? In the sequence that takes place within the couple's flat, the couches, flowers, and Bardot's towel will shift from primary red (in the gorgeous HD shots) to a reddish orange (in all the SD shots).