Screen Captures (5-6 per post + links to additional images)

Discuss internationally-released DVDs and Blu-rays or other international DVD and Blu-ray-related topics.
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Kinsayder
Joined: Mon Oct 10, 2005 6:22 pm
Location: UK

#176 Post by Kinsayder » Fri Mar 30, 2007 1:58 pm

Yes, the Spanish Diary of a Chambermaid is the disc available here.

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granolafolk
Joined: Sun Mar 25, 2007 1:17 am
Location: San Francisco, California

#177 Post by granolafolk » Mon Apr 02, 2007 3:58 am

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devlinnn
Joined: Wed Nov 03, 2004 3:23 am
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#178 Post by devlinnn » Wed Apr 04, 2007 10:15 pm

Wilder's The Major and the Minor - Madman (AUST, R4)
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devlinnn
Joined: Wed Nov 03, 2004 3:23 am
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#179 Post by devlinnn » Wed Apr 04, 2007 10:44 pm

No major troubles with Minor, although sharpness looks to be a tad uneven. It is a little more grainy than we are used to these days, but I can live with it. I had forgotten how many great gags are laced in this, the Veronica Lake one is a howler. The whole package though is crying out for a Marian Keane commentary.

(No sign of 5 Graves this morning.)

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jsteffe
Joined: Sat Mar 31, 2007 9:00 am
Location: Atlanta, GA

#180 Post by jsteffe » Fri Apr 06, 2007 1:13 am

Michael Kerpan wrote:How is the jittering and skipping at the beginning of "Autumn Afternoon". (It was in both the Shochiku print and the Shochiku DVD).

The Shochiku DVDs of these films look pretty similar color-wise.
Last night we screened Janus Films' 35mm print of AN AUTUMN AFTERNOON from their Ozu retrospective a few years back, and it looked stunning in its clarity. No jumping in the image, either. Ozu is one director who really benefits from seeing his films in 35mm to appreciate the subtlety of his mise-en-scene.

One thing I noticed was a decided green-brown bias in the color overall--due to the Fujifilm stock, perhaps? Don't get me wrong, the print still looked beautiful and obviously wasn't faded. The frame caps above look as if the hues might have been shifted slightlky in the transfer relative to the 35mm print, but they still look good.

I only hope that in their forthcoming Ozu late films box set Criterion/Eclipse doesn't futz with the color to make it look more like Eastmancolor stock.

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jsteffe
Joined: Sat Mar 31, 2007 9:00 am
Location: Atlanta, GA

#181 Post by jsteffe » Fri Apr 06, 2007 1:33 am

davidhare wrote:Tales of Hoffmann.

The Criterion laserdisc from 1995 top (with what I consider the correct color balance for blue) and the Criterion DVD below from the Studio Canal source which I consider to be blue-supressed, green biased:

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Actually, I think you could argue the opposite, that the Technicolor printing matrices were mistakenly reversed on the print used for the laserdisc transfer, or that something happened in the video transfer process. Notice how in the DVD frame grab her lips are red, whereas on the old laserdisc they're orange. Now why would Michael Powell give a Venetian temptress orange lips?

I think the the problem wasn't the caught first time around because the reversed matrices or hues still resulted in more or less "normal" looking skin tones.

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pro-bassoonist
Joined: Wed Jun 07, 2006 12:26 am

#182 Post by pro-bassoonist » Mon Apr 09, 2007 7:44 pm

davidhare wrote:...the Studio Canal master print used for the Criterion is lovely in all other respects but I am certain they manipulated the chroma to push up green which ends up killing off the blue/turquoise. I don't believe they used a Technicolor reference print when they were doing it.
...like they, Criterion, have done on numerous Studio Canal-ported releases already!

Pro-B

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jsteffe
Joined: Sat Mar 31, 2007 9:00 am
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#183 Post by jsteffe » Mon Apr 09, 2007 9:07 pm

davidhare wrote:It's entirely possible of course, although the liner notes on the laserdisc specifically refer to a NEW internegative which was struck from the three strip matrices to create a new interpositive (they also don't say so but one suspects it was done by Scorsese and Schoonmaker.)

The point is however the gorgeous 16mm IB print which played around NYC in the late 70s and early 80s has EXACTLY the same turquoise color in the Baracarolle sequence, but, of course the red lippy is real Helena Rubinstein Techni red, not orange - I think the laser transfer simply wasnt up to supporting a fully saturated red without color bleeding. The Studio Canal master print used for the Criterion is lovely in all other respects but I am certain they manipulated the chroma to push up green which ends up killing off the blue/turquoise. I don't believe they used a Technicolor reference print when they were doing it.
That sounds like a plausible explanation, and I trust your color memory. One of my colleagues, who worked for quite a while at Cinepost here in Atlanta, pointed out something very interesting today. The blue headscarf and orange-ish lips in the laserdisc image are virtually complementary colors, as are the red lips and green headscarf in the DVD. I don't know whether this has any bearing on anything.

I guess the only way to get to the bottom of this would be to look at one or more surviving Technicolor IB prints for reference. Or maybe Lee Klein at Criterion could shed some light. But it's a fantastic film, either way. I saw it only for the first time when the DVD came out and was delirious for days afterwards! I would give anything to see a 35mm print.

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HerrSchreck
Joined: Sun Sep 04, 2005 11:46 am

#184 Post by HerrSchreck » Wed Apr 11, 2007 4:16 am

Ah that drum solo..

Not bad, certainly in keeping with the high faux-grain noise of the typical30's-40's Universal transfers as of late, but with an ever so slightly uncharacteristic edge-enhancey/analoguey look about it i e around hi-contrast light-dark parallels like the glasses, jewelry & pretzel dish in the first cap. Uni's transfers lately have been absolutely spectacular (i e the Karloff's, Lugosi's, ALL QUIET, ARABIAN NIGHTS etc & GLAMOUR COLLEC in R1) and this is just a couple molecules beneath. But I certainly wouldn't throw that LADY outa my disc collection.

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Kinsayder
Joined: Mon Oct 10, 2005 6:22 pm
Location: UK

#185 Post by Kinsayder » Wed Apr 11, 2007 5:36 am

davidhare wrote:Phantom Lady (Carlotta R2 France)
Please say those subs aren't burnt in.

Anonymous

#186 Post by Anonymous » Wed Apr 11, 2007 6:59 am

Cobra Woman looks gorgeous! I definitely have to get that one and project it in a Jack Smithian loop of Montez-Mania, set to some Yma Sumac records.

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Lino
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#187 Post by Lino » Wed Apr 11, 2007 10:42 am

Carsten, we must be kindred spirits -- I adore Yma Sumac! And you're right, it's the perfect soundtrack choice!

But like I said in another thread, I'll wait for Universal to release in their new Classics line. I'm sure the quality will be just as good if not better.

Anonymous

#188 Post by Anonymous » Thu Apr 12, 2007 5:35 am

davidhare wrote:Yma is extreme camp (but only with the Les Baxter arrangements on Voice of the Xtabay.)

But the music score for Cobra Woman is sufficient - n'est-ce pas?
For me it is sufficient, but Jack would probably play Yma to it...

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devlinnn
Joined: Wed Nov 03, 2004 3:23 am
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#189 Post by devlinnn » Tue Apr 17, 2007 1:14 am

Hitchcock's To Catch a Thief - Paramount, R4 (AUST)

Old version - top
New version - bottom

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Enough said....

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devlinnn
Joined: Wed Nov 03, 2004 3:23 am
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#190 Post by devlinnn » Tue Apr 17, 2007 1:48 am

I was going to post one of Ms. Kelly, but something came up as I was taking shots.....

It's a friggin' beautiful transfer, and yes, I love this movie too. Pure wall-to wall dreamland.

(I've also re-appraised the local Greatest Show... during sober viewing. The transfer is just so-so, sadly.)

Billy Wilder's Five Graves to Cairo - Madman, R4 (AUST)

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Very nice.

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devlinnn
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#191 Post by devlinnn » Tue Apr 17, 2007 5:02 am

If Funny Face could ever look this good, I'd need to be hosed down on the hour.

Lordy, after upteenth viewings since very young childhood (just how many screening did Bill run during the 70s and 80s?), I just have never seen this film before now. The transfer is that astonishing beautiful.

Just look at it...(how well this all goes with a wet gin and an endless supply of rum balls.)

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HerrSchreck
Joined: Sun Sep 04, 2005 11:46 am

#192 Post by HerrSchreck » Tue Apr 17, 2007 5:51 am

You know you're looking at a top-tier transfer when you can start, in the case of those beach caps for ex., smelling the fuckin suntan oil, feel the sand sticking to your leg hairs and feel the fuckin heat on your face when staring at it. That's real brain-ambrosia, that one.

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devlinnn
Joined: Wed Nov 03, 2004 3:23 am
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#193 Post by devlinnn » Tue Apr 17, 2007 7:10 am

Two more (I forgot the pussy).

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The green night filters throughout are perfection.

Merci Mr. Hitchcock. Merci Mr. Grant. Life just wouldn't be the same.
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Scharphedin2
Joined: Fri May 19, 2006 7:37 am
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#194 Post by Scharphedin2 » Wed Apr 18, 2007 6:46 am

Those caps look amazing Dev! If only more technicolor films could be transferred to look this beautiful on DVD. I take it, this would be the same transfer that is on the R1 SE of Thief...?

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devlinnn
Joined: Wed Nov 03, 2004 3:23 am
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#195 Post by devlinnn » Wed Apr 18, 2007 7:08 am

Scharphedin2 wrote:I take it, this would be the same transfer that is on the R1 SE of Thief...?
It would have to be. It was released a few weeks earlier down here due to Mother's Day tie-in promotions for early May, and can be found for below AU$15 (around US$10), with all the extras.
One thing to keep in mind - it's a PAL transfer, so technically speaking the colour should always be better than N(ot) T(he) S(ame) C(olour). This was always the case in the VHS days, but the mastering down here (and in the UK and Euruope) has never been as good as the US, so it all balances out in the end I guess.

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Kinsayder
Joined: Mon Oct 10, 2005 6:22 pm
Location: UK

#196 Post by Kinsayder » Wed Apr 18, 2007 7:24 am

And of course you get higher vertical resolution in PAL (a fact that Gary often conceals in the Beaver comparisons by resizing the caps).

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tryavna
Joined: Wed Mar 30, 2005 4:38 pm
Location: North Carolina

#197 Post by tryavna » Wed Apr 18, 2007 12:16 pm

davidhare wrote:Total and complete ephemera. But there is a wonderful Carl Barks Donald Duck comic book (one of the 24 page three color ones) also from the 54 era in which the great Barks - never one to shy from cinematic influence - totally replicates some of Dev's screencaps, in particular the babes on the beach in one pieces and giant sunglasses. And carries the same self-knowing insouciance.

I have a modest collection of Barks buried inna drawer somwehere but NOT this comic. Does anyone else here have it? Or remember it?
David, I too am a big fan of Barks and have a drawer-full of his work, and I know I have the particular comic you're referring to. (Unfortunately, that drawer isn't where I currently live.) I don't remember the title, but it opens with Donald and his nephews on the beaches of Monaco, where the homages to Hitch are to be found. Donald is persuaded by a leggy spy to help her. I don't remember everything, but one part that has stuck with me is where Donald, having been drugged by the spy, falls asleep on the railroad tracks -- only to be spared when the French engineers remember that they're supposed to go on strike! (French transportation strikes are always good fodder for humorists of any kind.)

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zedz
Joined: Sun Nov 07, 2004 7:24 pm

#198 Post by zedz » Thu Apr 19, 2007 1:48 am

tryavna wrote:
davidhare wrote:Total and complete ephemera. But there is a wonderful Carl Barks Donald Duck comic book (one of the 24 page three color ones) also from the 54 era in which the great Barks - never one to shy from cinematic influence - totally replicates some of Dev's screencaps, in particular the babes on the beach in one pieces and giant sunglasses. And carries the same self-knowing insouciance.

I have a modest collection of Barks buried inna drawer somwehere but NOT this comic. Does anyone else here have it? Or remember it?
David, I too am a big fan of Barks and have a drawer-full of his work, and I know I have the particular comic you're referring to. (Unfortunately, that drawer isn't where I currently live.) I don't remember the title, but it opens with Donald and his nephews on the beaches of Monaco, where the homages to Hitch are to be found. Donald is persuaded by a leggy spy to help her. I don't remember everything, but one part that has stuck with me is where Donald, having been drugged by the spy, falls asleep on the railroad tracks -- only to be spared when the French engineers remember that they're supposed to go on strike! (French transportation strikes are always good fodder for humorists of any kind.)
Is this the one where the climactic scene involves Donald as a matador, and are they being pursued by the mysterious Monsieur Mattress-face (That Barksian dwarf with the specs and enormous bushy beard down to his knees)?

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ola t
They call us neo-cinephiles
Joined: Wed Nov 03, 2004 4:51 am
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#199 Post by ola t » Thu Apr 19, 2007 3:45 am

The one I think we're all thinking of is Dangerous Disguise from 1951 (so it predates the film). Here's the wonderful Donald-as-matador cover picture. Just to get even more ephemeral, a nice bit of trivia is that this is the only Barks story where the non-duck characters are fully human. His editors didn't like it and made him go back to the usual dog ears, pig snouts, etc.

Lost in the Andes... but don't forget Tralla La which is a more explicit riff on Shangri La.
Voodoo Hoodoo (zombie story)
Land of the Totem Poles (steam calliope)
Not sure about the tripping story, unless it's Donald Duck's Worst Nightmare which is quite Wackylandesque.

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feckless boy
Joined: Wed Jan 03, 2007 4:38 pm
Location: Stockholm

#200 Post by feckless boy » Thu Apr 19, 2007 9:52 am

Giliap (Sandrew Metronome, R2)

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No english subs.

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