Tag Archives: Blu-Ray

In The Mouth of Madness – Blu-ray vs iTunes

In The Mouth of Madness in the end of director John Carpenter’s informal ‘Apocalypse Trilogy’, a dark Lovecraftian horror film staring Sam Neill. Written by Michael De Luca, there are no happy endings in this story.

The film had mixed reviews upon release and did little business, and it’s not hard to see why. Lacking the real world chill and terrifying body horror effects of ‘the Thing’, and without the nail-biting tension of ‘Prince of Darkness’ it is easily the weakest entry in the Apocalypse Trilogy. Sam Neill’s character is baffled throughout, as is the audience, as there is little logic to any of the events that occur. Characters deaths are effectively Deus ex machina that occur because the story needs them to happen. You could almost draw parallels with Spike Jonze and Charlie Kaufman’s 2002 ‘Adaptation’, or perhaps the later ‘Synecdoche, New York’.

Anyway – I actually caught the film at a Cinema in London when it was first released, and watched it (almost alone), and kinda enjoyed it.

Long absent from high definition disc, I took a look at the HD iTunes version to see if it was worth recommending a little while ago, and emerged disappointed, it has a soft DVNR’d picture that looked as if it had possibly been upscaled, at best 2 out of 5. I didn’t bother posting a review.

However since the Blu-ray has been previewed on some sites, I thought I’d compare the two using some screenshots borrowed from DVDBeaver.

The verdict ?

In The Mouth of Madness, iTunes HD on the left, Blu-ray on the right. Spot the orange and teal.

In The Mouth of Madness, iTunes HD on the left, Blu-ray on the right. Spot the orange and teal. Not exactly the same frame, but close enough.

While the iTunes edition has it’s problems (sharpness, halos, DVNR), the obvious Orange-and-Teal tampering with the Blu-Ray edition makes it hard to recommend.

Verdict: Both disappointing. But at least the world isn’t coming to an end.

 

So Is The New Mary Poppins Blu-Ray Worth Buying ?

I previously reviewed the Mary Poppins iTunes HD download, which was about as terrible as the DVD (harsh DVNR, edge enhancement). Will the brand new 50th Anniversary Edition be worth buying ?

I was surprised to see a 1080p trailer posted on YouTube, so I decided to have a closer look.

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Orange and Teal, or How “Re-Mastering” is Distorting Our View of Classic Films

Many films that are being released for the first time in high definition are being tampered with in an anachronistic way, which misrepresents both the original film-makers vision and drowns subtle genre traits in a tsunami of modern digital processing. The motivation for this is market pressure, both real and imagined, to produce acceptably ‘modern’ content. We must ask ourselves, should we be experiencing film as a historical artifact or as something that evolves with time and technology?

Three images showing the Orange and Teal Color Scheme at play

Orange and Teal is credited with being more ‘involving’ than more natural color schemes.

Historically film was shot on either Tungsten or Daylight balanced film. Natural variation in the film stock led to differences in color even within a single reel. This meant that a single shot could be vary in hue between takes. Further complications associated with changing weather, time-of-day, and the difference between sets and locations meant that shots in a sequence could vary wildly in density and hue.

To resolve these issues it was necessary to run through the edited film applying slight adjustments to the balance of the three primary colors would be used to ‘print’ the final internegative, which would be used to make exhibition prints. These ‘printer lights’ could be adjusted between 0 and 50, where an adjustment of either 6 or 8 stops (depending on the Lab) would equate to one photographic stop. Working out these adjustments took considerable skill, since it was necessary to take into account how over or under exposed the negative was at each point, as well as the characteristic response curve of the print stock being used. The result was an iterative process that often took several days or even weeks to complete.
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