In case I wasn't clear : I meant the movie was claimed solely to have been restored and graded by the TFI, but definitely looked like a Ritrovata job.The Fanciful Norwegian wrote: ↑Mon Oct 04, 2021 12:06 pmI can't find any mention of One Cool working on the King Hu restorations, most of which were done before Ritrovata started the Hong Kong branch. Legend of the Mountain was the only one done afterwards and the restoration notes say it was done in Bologna.
There's also the fact that Ritrovata's color signature can be found in many restorations that had external guidance (whether it was the director, the DoP and whoever was deemed related enough to offer so), ie the signature is intense enough and structural enough to overpass whatever human approval or supervision there is.mhofmann wrote: ↑Mon Oct 04, 2021 11:50 amThis is the case for In the Mood for Love, but the restoration notes for Days of Being Wild (and As Tears Go By) don't mention Wong. Most of the transfers in the set were "supervised and approved by Wong Kar Wai," but that language is missing for those two; instead it just says "This 4K digital restoration was undertaken from the 35mm original camera negative by the Criterion Collection in collaboration with L’Immagine Ritrovata and One Cool." Now it is possible they were graded in line with what they assumed Wong wanted based on the other transfers, or Wong provided some general notes but wasn't involved to the same degree as the others. But as tenia says we'll soon have a good idea whether this is actually a signature of One Cool.
I believe the Asian branch did A Better Tomorrow, and it definitely looks like a Ritrovata job.yoloswegmaster wrote: ↑Mon Oct 04, 2021 12:28 pmI honestly don't believe that the films scanned by the Hong Kong branch apply the usual colour grade that their parent company is infamously known for, though I'm only basing this off screengrabs from the Throw Down release as it's the only film that I know for sure was restored by them.
Ritrovata has also been operating a French branch fore some years and honestly, I don't even bother differenciating if the work was done in Italy or France because it's interchangeable.
AFAIK, that's because they're not done by Ritrovata (or at least not the grading).yoloswegmaster wrote: ↑Mon Oct 04, 2021 12:28 pmall of the recent Fortune Star releases from Eureka/88 Films don't seem to have the typical Ritrovata grade to them.
I'll check next week what the current consensus is there but they're not having the workload they have for no reason : AFAIK in the industry, people challenging their color signature like I do are the extremely negligible minority. Even worse than this : in some cases, we're perceived as people trying willingly to wrong Ritrovata and Eclair, not as people merely worried for the Magenta Push to come back though through new shapes.yoloswegmaster wrote: ↑Mon Oct 04, 2021 12:28 pmthe usual colour grade that their parent company is infamously known for
Also, if, at some point, it turns out we're able to factually demonstrate once and for all that those color signatures are so intense that they're covering the original colors in extremely improper ways, how do you think right-holders, cinephiles, archives, etc etc, will react since pretty much none of them did much to change that for (for the moment) at least a decade ? That they let so many movies being AGAIN structurally wrongly restored and preserved, that the magenta push lesson hasn't been learned ?