Valkyrie - DVD Review - Page 2 - Home Theater Forum and Systems - HomeTheaterShack.com

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post #11 of 18 Old 08-06-09, 10:01 AM
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Re: Valkyrie Review

Interesting, view on the colour film process. Still the most impressive blend of black & white it was called a certain name because it wasn’t true black and white more like (sandy brown and white).

Well move from that to Technicolor is like having film with sequences for scope P.O.V. like that in Brainstorm 1983 where the rest of the bulk is shot at 1.85:1. Wouldn’t it have been an extra plus if “Oz” was filmed in scope and at the same time it goes to colour the screen widens outwards.

Follow the yellow brick road

Anyway I think we should keep on topic I don’t want to get a red card on this thread
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post #12 of 18 Old 08-06-09, 10:33 AM
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Re: Valkyrie Review

Andysu,

What you're referring to is tinting and toning black and white film stock. This was common
in the silent era to create a mood. The negative was black and white but the release print
stock contained a color tint to give you shades of one color rather than utilizing silver halides
for the gray scale. For example, they would tint night scenes in blue. Desert scenes in amber.
It fell out of favor in the sound era although this technique was used successfully in "The
Wizard of Oz" for the Kansas scenes.

"Brainstorm" shot the fantasy scenes in 65mm and the rest in 35mm in the 1.85 format.
The release prints were in 70mm with changing aspect ratios as you noted. Even that wasn't
unique. They used changing aspect ratios for the three panel Cinerama travelogues in the fifties
and "Around the World in 80 Days" in the Todd A0 process. Changing ratios was also quite effective
in "Superman" in 1978 for the credit sequence.

Believe it or not, 70mm was introduced in 1929 and some movies were shot in that format
like "The Big Trail" which is available on DVD in it's widescreen ratio. It was also filmed simultaneously
as a standard 1.33 35mm feature. However, the cost of the process combined with the extra
expenses that theaters were incurring to set up for two sound systems simultaneously (optical
sound and Vitaphone record sound) made it fall out of favor. The Technicolor lab never did adapt
their three panel cameras for widescreen. The just switched to Eastmancolor for Todd-AO, CinemaScope and Cinerama for the negative and derived the three matrices from them for the
dye transfer release prints.
Agfacolor was the first single emulsion color negative. It was somewhat grainy with
mediocre resolution but a lot cheaper than the Three Strip Technicolor process which would
not have been available in Germany in 1943 since we were at war with them. Curiously,
when Kodak adapted Agfacolor into their own Eastmancolor process in 1951, it had worse
dye stability than the original Agfa stock. Agfa and Fuji color negatives faded fairly slowly.
Kodak Eastmancolor color negative stock faded more rapidly. Of course the Technicolor three
strip black and white negatives didn't fade at all.

Technicolor dye transfer prints didn't fade. Agfacolor and Fujicolor release prints faded
slowly. Kodak Eastmancolor prints faded the quickest. So whatever dyes they were using in
Agfacolor back in the forties were more stable than the dyes Kodak used when they adapted
the process for their own use.

Check out the DVD of the 1943 of "Munchhausen". It's a very interesting fantasy film.
It's hard to believe it was produced by the Nazi minister of propaganda. It's amazing it survived
the war. What's even more amazing is that Fritz Lang's original nitrate camera negative of
"Metropolis" was found too and recently restored. Lang had been informed that Hitler ordered
it destroyed when he turned down becoming the head of the Nazi film industry and immigrated
to the US instead. Perhaps it was but someone at the lab didn't follow the order and it survived.
Many notable German film industry people left that country and migrated here including Marlene
Dietrich. It turned out to be a boom for Hollywood when those who could got out of there and
arrived on our shores. More interesting trivia that usually isn't discussed.

What's a 'red card'? And what's the difference if the thread migrates into other related areas?
We're still discussing the era and it's technology while putting it into historical context. I find
it interesting to give different perspectives on the same subject.

Last edited by Richard W. Haines; 08-06-09 at 10:57 AM.
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post #13 of 18 Old 08-07-09, 10:28 AM
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Re: Valkyrie Review

Afternoon Richard

Well blimey I’m staggered I didn’t even come across that information on the in-70mm site 1929 wow I guess it went dormant for several decades before resurfacing.

Yes that is a rather impressive shot except the screen is already in scope its just cantered to the middle of the screen until the flashes of blue colours on Superman’s opening titles makes it appear the masking suddenly opened which would make it the fastest masking I’ve seen anywhere LOL.

I’m a slightly younger lad. I never had the luxury’s of seeing Around the world or even 2001 for that matter.

I think Germany was also working on sound systems as I like to keep this kinder on track.
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post #14 of 18 Old 08-08-09, 10:58 AM
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Re: Valkyrie Review

Well I'm not so old as to have seen "Around the World in 80 Days" on it's original release in the fifties.
I saw the 1968 re-issue when I was eleven. I saw "2001" in 70mm on it's original release in 1968
and in it's two re-issues in 70mm in 1976 and 1977. Of course I saw "Superman" in 70mm in 1978.
70mm was a great exhibition format and the theater owners came up with a compromise for the
seventies and eighties. They would retain the multible theater complex as a formula (rather
than a single screen cinema) but keep at least one of the theaters a large screen with 7
0mm capability. This went out the window with the advent of the megaplex
which is technically any complex with more than 10 theaters. In fact the early megaplex exhibitors
bragged that they were '70mm free' as if that was an attribute. I suppose it was for them regardling
labor since you definately needed a qualified and experienced projectionist to properly show the
large format as opposed to a minimum wage teenager for a 35mm platter set up where all they have
to do is turn on the machine and then leave. Personally I don't believe you can automate 'showmanship'
but that's what they attempted to do in the megaplexes which is why you can generate better quality
screenings at home in most cases where the person putting on the show takes the time to properly
set up the picture quality and sound field.

In terms of the early days of sound, many countries worldwide came up with all kinds of systems
including interlocked methods that were later revived with Cinerama. There was even one off
the wall process that had record grooves on the side of the film print but of course it would wear
out too fast to be practical. The early Vitaphone records had better sound than the early optical
track sound but having the sound on film was so much better 'in the field' so optical sound was
the system that won. They later improved the quality and reduced the optical track hiss with
the Westrex low noise system. Then in the seventies Dolby added noise reduction to their
optical track stereo format to improve the quality of analog sound. Digital replaced that as the
state of the art for audio.

Last edited by Richard W. Haines; 08-10-09 at 07:07 AM.
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post #15 of 18 Old 12-14-09, 04:30 AM
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Re: Valkyrie DVD Review

Anyway, I'm glad to have this Blu-ray in my collection.
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post #16 of 18 Old 03-12-10, 06:52 AM
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Re: Valkyrie - DVD Review

I watched this last night. I liked it very much. There was a couple scenes in the beginning where bombing was taking place, and the bass was great. This film had great bass too!
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post #17 of 18 Old 11-06-11, 07:52 AM
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Re: Valkyrie - DVD Review

Even if they took some poetical licenses from reality...
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post #18 of 18 Old 11-06-11, 08:48 AM
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Quote:
Prova wrote:
Even if they took some poetical licenses from reality...
Poetical license is the reason I have yet to see this movie. Ever since Vanilla Sky I have tried to avoid most of Cruise's work.

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People think I'm strange, does it make me a stranger?
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