Severin Films

[49CHOMPS]

Just received a shipping notification for The Worlds of Lucile Hadžihalilović.
45 days earlier than expected is very welcome.

[Adam X]

Ah, I didn’t catch that. Makes perfect sense then.

Sorry, my reply was a bit blunt. Doesn’t seem to mention it on their’s store’s page, but was stated with their title announcement. If it stays in print long enough it may well show up on Diabolik etc if you’re lucky. Sometimes it seems to be for an unstated window rather than until it sells out.

[TMDaines]

I suppose though that what Severin means is that the BFI supplied them with a 24fps file of the raw scan, which is something completely different, and something that indeed can later be manipulated anyway.

Yeah I think the response came from somebody who doesn't get it...it should be mentioned, that while you can "manipulate it' (like pitch correct), you will never truly be able to get 25fps native footage to appear identical to 24fps footage...the math just doesn't add up. However, as MichaelB mentions the difference for most people is negligible, and US viewers have always consumed everything from Monty Python to Dr. Who at a slightly altered speed. The biggest tell is usually music's pitch.

You can play something recorded at 25fps (25p) at 24fps (24p) with zero problem. You can do this on the fly on your PC even. You can change a field to then just make it a 24p file too. It is the audio that is the issue, not the video as long as you dealing with progressive frames.

[Peacock]

Zot is correct, the video will never be the same as you are losing or interpolating that extra frame that is there in 25fps. But as you say you can of course playback 25 at 24, but that isn’t what Zot was saying, he was saying it won’t be the same as playing it at the native framerate.

I have to say that Severin’s response doesn’t really make sense.

[TMDaines]

Why would you lose or interpolate an extra frame? You just take the exact same stack of images and play them back 24-per-second rather than 25-per-second?

[MichaelB]

That’s how I’ve always done it, and it’s by far the sanest way.

I’ve seen some 25-to-24 transfers compromised by dropping one frame in every 25, which makes no sense to me whatsoever given that there’s a far more practical alternative.

[Zot!]

Why would you lose or interpolate an extra frame? You just take the exact same stack of images and play them back 24-per-second rather than 25-per-second?

This is a complicated topic, because it can be done many different ways, with varying compromises, but the relevant part is that it is mathematically impossible to represent 25fps within 24fps or vice-versa without doing something visual or temporal. In this case I agree with the assessment that for modern TVs simply doing the telecine 1frame:1frame (and thereby slowing the master down a negligible amount) makes the most sense (as it has been done for The War Game). If you want to do one better, modern digital audio editing allows one to even correct the audio's resulting pitch down. Concert films are often scrutinized for this because for music the pitch is obviously much more critical.

[Finch]

SEVERIN SUMMER SALE 2026 TITLE #1***
THE AUTOPSY OF JANE DOE
THE WORLDWIDE UHD PREMIERE
In his English-language debut, award-winning director André Øvredal (TROLLHUNTER, THE LAST VOYAGE OF THE DEMETER) unleashed an “intensely frightening” (Wicked Horror), “gaspingly good” (The New York Times) “exercise in pure terror” (Flickering Myth), now laid out and sliced open in UHD for the first time ever: When the body of an unidentified young woman is discovered at the scene of a mass slaughter, it is sent to the local coroner (Emmy® and BAFTA winner Brian Cox of Succession and MANHUNTER) and his son (Emile Hirsch of INTO THE WILD and ONCE UPON A TIME IN… HOLLYWOOD) for surgical post-mortem. But this corpse will reveal chilling secrets. The mortuary itself will pulse with malevolence. And as their autopsy cuts deeper, an unstoppable evil will rise. Ophelia Lovibond (Minx) and Michael McElhatton (Game of Thrones) co-star in this “masterclass in horror filmmaking” (Coming Soon), now scanned in 4K with Special Features including new interviews with André Øvredal, Emile Hirsch, Olwen Catherine Kelly and more.
Special Features:
Disc 1: UHD (Film + Special Feature):
• Trailer
Disc 2: Blu-ray (Film + Special Features):
• Head Examiner – Interview With Director André Øvredal
• Next Of Kin – Interview With Actor Emile Hirsch
• Undead On Arrival – Interview With Actress Olwen Catherine Kelly
• Coroner's Report – Interview With Co-Writer Ian Goldberg
• Postmortem Procedure – Interview With Co-Writer Richard Naing And Producers Fred Berger And Eric Garcia
• Tools Of The Trade – On-Set Interview With Actor Emile Hirsch
• Father In The Family Plot – On-Set Interview With Actor Brian Cox
• Second Degree – On-Set Interview With Actress Ophelia Lovibond
• Body Processing – On-Set Interview With Producer Ben Pugh
• Trailer
Specs:
• Aspect Ratio: 2.35:1
• Runtime: 86 mins.
• Audio: English 5.1, English Stereo
• Closed Captions
• Region: A/B/C
*Vertical Split Rigid Slipcase Illustrated by Trevor Henderson
*Reversible Wrap

[Finch]

SEVERIN SUMMER SALE 2026 TITLE REVEAL #2***
METAMORPHOSIS
THE WORLDWIDE UHD PREMIERE
THREE DISC COLLECTION
WITH BONUS SOUNDTRACK CD
A SEVERIN FIRST! Apply your own title treatment to the front of the slipcover — including The One We’re Legally Forbidden From Revealing Here — from the two provided reusable/interchangeable vinyl clings!
When writer/actor Luigi Montefiori/George Eastman passed away in May 2026, the world lost “one of the most fascinating figures in Italian exploitation cinema” (Genre Grinder). Now his sole directorial feature – produced by Joe D’Amato and shot in Virginia – is presented in UHD for the first time: Deep within a university laboratory, a brilliant professor is conducting unauthorized experiments in genetic engineering. But will his growing obsession with creating a new lifeform lead to the most horrific transformation of all? Gene LeBrock (BEYOND DARKNESS) stars – with a special appearance by the movie’s costume designer Laura Gemser – in “the thinking person’s Italian body horror film” (Senseless Cinema) with special effects by Maurizio Trani (ZOMBIE, THE BEYOND, RATS: NIGHT OF TERROR) and a score by Luigi Ceccarelli (STRIKE COMMANDO, NOSFERATU IN VENICE), newly scanned in 4K from the original camera negative with Special Features that include a never-before-seen interview with Montefiori plus the first-ever release of the soundtrack on a Bonus CD.
Special Features:
Disc 1 UHD (Film + Special Feature):
• Trailer
Disc 2: Blu-ray (Film + Special Features):
• It Was Supposed To Be A Different Movie – Interview With Writer/Director Luigi Montefiori (aka George Eastman)
• Caught In The Crossfire – Interview With Cinematographer Gianlorenzo Battaglia
• A Tale Of Love And Hate – Interview With Producer Aristide Massaccesi (aka Joe D'Amato)
• Whatever Happened To The Monster? – Interview With Makeup Artist Maurizio Trani
• Trailer
Specs:
• Aspect Ratio: 1.66:1
• Runtime: 96 mins.
• Audio: English Mono, Italian Mono
• Closed Captions, English Subtitles
• Region: UHD: A/B/C, Blu-ray: A
*Limited Edition Slipcover with Two Vinyl Cling Title Treatments
*Soundtrack Limited to LE Version