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The Heisei films usually retain the Japanese title cards with digitally-added English subtitles, but the newer films have new, very dull English title cards awkwardly plastered directly over the Japanese titles, which are often much more elaborate and beautiful though this is the work of either Toho's export department or the Hong Kong company that dubs the films.
This one takes the cake. Sadly, with the release of the Blu-rays, this tendency now also applies to Godzilla vs. Spacegodzilla and Godzilla vs. The transfer of Godzilla used for the DVD and standard Blu-ray is, for reasons that remain unclear, much darker and murkier than the way the film looked in theaters, rendering many of the nighttime scenes nearly indecipherable.
The most infuriating thing about it is that the ads for the DVD and even the clips shown in the special features on the disc look fine, as does the transfer used for the 3D Blu-ray, yet Warner Bros is doing nothing to fix the problem.
The 4K Blu-ray release in averts this, utilizing a new transfer that brings the color grading about to the theatrical release, which would later be carried over to all digital releases as well. King Kong vs. Godzilla 's Japanese version was re-released multiple times in the 60's and 70's to the Champion Festival - a children's film festival in Japan.
Toho edited the film's run time down to make it more tolerable for the younger audience, slicing up the original negatives in the process. The film's first Japanese home video release sourced those formerly lost scenes with a 16mm print, but a 35mm print was located in the early 90's only to be lost as well. Future releases sourced the LaserDisc release with the lost scenes being located once more for the Blu-Ray release.
Most recently, Toho commissioned a 4K restoration in with the initial missing footage finally recovered from the first reel. The restoration was broadcast on TV and in theaters in the summer of Instead, it just doesn't fix anything.
The disc seems to have been scanned from a very tired print, with many scratches and cue dots. They have no place on a home video release, especially in the 21st century. However, they were rather prevalent on videocassettes and Laserdiscs in the early days. The 20th anniversary DVD release of Halloween featured a transfer approved by cinematographer Dean Cundey, with the daytime scenes graded with a strong brownish-orange tint to suggest an autumnal atmosphere and the night scenes bathed in deep blues.
When the film received an HD telecine for the 25th anniversary edition DVD, it was done without Cundey's involvement and the color timing was completely changed to a much more neutral appearance, removing both the orange and blue tints for an image that was technically more realistic but not in line with the film's artistic intent. This was just the first in a series of issues and debates regarding transfers of the film The Blu-ray release was sourced from the same telecine as the DVD, but the color timing was tweaked in an attempt to address some of the criticism — again without the filmmakers' involvement.
A slight brownish tint was added back to some of the daylight scenes, and a bit of the blue was restored to at least some of the night sequences, creating an overall look somewhere in between the two DVD transfers. For the 35th anniversary Blu-ray inthe movie was given a brand-new scan with the transfer supervised and approved by Cundey. You'd think this was a slam dunk, but as it turned out, this transfer — while much sharper than any prior home video release — featured completely different color timing than any of the prior DVD or Blu-ray editions, including the Cundey-approved transfer.
The entire film has a stark, desaturated appearance, completely removing the "autumnal" tint from the daylight scenes while also featuring less vibrant colors in LP) than even the DVD. The night scenes are bluer than they were in the and transfers, but still not as heavily-tinted as the DVD. This led to many impassioned debates about which version people believed looked most like the original theatrical prints, based on year-old memories.
There was enough controversy that the Deluxe Edition Complete Collection Blu-ray set of the franchise includes both the and transfers. Another new scan was done for the film's 4K Ultra HD Blu-ray release inbut the color timing was kept nearly identical to the transfer. De Palma asked the film restorers to fix what he thought were some minor distortion issues and in the process the frame became vertically stretched. Criterion apologized for the error, sent replacement copies to those with the first edition, and eventually released a second printing in October The DVDs and Blu-rays for the films of Stanley Kubrick are the subject of a very long debate regarding what aspect ratios the films should be seen in.
Barry Lyndon was expressly meant to be projected in the 1. Kubrick even had notes packed with prints of the film urging American projectionists to make sure they got the 1. Naturally, the Warner Brothers Blu-ray is cropped to a 1. Luckily The Criterion Collection got a hold of this title and released a Blu-ray that uses the correct 1. Shortly before his death, Kubrick approved 1. However, in reality Kubrick simply felt that viewers would prefer seeing the 1.
Now that high-definition widescreen televisions are the norm, the movies have been reissued in 1. This was eventually corrected in the remaster, screened at the Cannes Film Festival and later released as a 2-disc Blu-ray set, one a regular Blu-ray and the other a UHD one.
The Blu-ray release of Selma came under fire by Blu-ray. Some shots have smudges on the edges and the color in most scenes is a poor blend of light sepia and pale blacks, all flat.
Many were baffled that a film shot and finished digitally be released with such mediocre video quality. Anchor Bay's DVD of Suspiria looks quite fantastic but suffers from a very badly remixed soundtrack. The sinister musical score deliberately overpowered the sound effects and dialogue in the original mix, but now it has been turned down considerably, often to the point of being difficult to hear.
Some music tracks are also flat-out missingas are several lines of dialogue and sound effects. Perhaps the most glaring omission of all is the screaming heard over the entire end creditswhich largely robs the iconic ending of its visceral punch.
One Blu-ray bundle in particular, for Crime Story and The Protectorfeatures not only the panned US version of the latter film, but the superior Hong Kong version as well. The problem though is that the Hong Kong version did NOT get the treatment it deserved especially since the US version is considered an Old Shame of Jackie's, making him re-shoot and re-cut the film in the first place as it had little to no attempts at digital restoration whatsoever.
No attempts at cleaned up video quality with sights of film scratches, no sign of improved colors, and still looked pretty blurry. As well as no improved audio as it still sounded like it was running on an old video medium.
It also doesn't help that it's treated as an extra feature rather than another film. When the original Night of the Living Dead was re-released in a George Lucas Altered Version for its 30th anniversary, one of the many complaints was that the restoration team had actually done too good a job, erasing the atmosphere provided by the murky public domain prints and making the film look cheap and shoddy as a result.
In actuality this was because the producers of the newer cut altered the contrast levels of the original film so that it would be a better match for the new footage they shot; subsequent releases have generally averted this trope by seeking to maintain the look of the older prints, even when creating new high-definition versions. Though with the film in the public domain and available for anyone to make their own release of, some of them have naturally gone overboard with DVNR, with predictable results.
While the picture does look fairly beautiful compared to the original television broadcast, the DVD release does suffer from the postage stamp effect when played on screens, similar to the Sailor Moon example, and is also subjected to the inverse of PAL speedup, i. The Apartment looked overly dark and vertically compressed on its Collector's Edition DVD and Blu-ray, released in andrespectively.
The restoration corrected these issues. Unfortunately, the music sounded less clear afterwards, and some vocals disappeared altogether. For the 40th Anniversary re-releases, Paramount managed to correct almost all of these issues. Paramount eventually removed the flash, and allowed owners of discs with the flash to receive fixed replacements.
Unfortunately, the "fixed" UHD disc now has distracting brightness fluctuations during the carnival. Rififi : The Blu-ray transfer is very grainy in places. The counter-intuitively named Unsharp Mask increases perceived sharpness by increasing edge contrast.
If you push it too far, the process finds edges in areas of flat colour, causing grain. There are also a few brief scenes which haven't been processed, and which look very soft in comparison. Ghostbusters had several color-inaccurate versionswith the worst offender being the DVD.
The Dish 's Australian Blu-Ray release was upconverted rather than "remastered" as advised. At first it was conversional thanks to users at a Blu-Ray forum until Roadshow replied and planned on making a proper restoration, which they released in January From the start of the home video revolution, Sergio Leone 's Dollars Trilogy has been put through the wringer. The restoration released Stateside on DVD in and on Blu-ray inwas even worse in that regard, also looking quite LP).
Most current releases of the trilogy as a whole don't even have the original mono; exceptions include a repressing of the release of LP) Good, the Bad and the Ugly the original pressing accidentally omitted it and the release of A Fistful of Dollars. Just like the Dutch DVD release of Fistfulthe release of The Good, the Bad and the Ugly managed to screw up the simple task of assembling the International Theatrical Cut, losing several seconds of footage which have yet to resurface commercially to this day and also inserting footage that wasn't meant to be included.
The release of The Good, the Bad and the Ugly is the first release in a while of any film in the trilogy to look yellow; however, it looks more yellow than Leone intended. From toKino Lorber released the complete trilogy, with mixed results. Fistfulreleased inalso uses an overly-yellow print; however, it at least appears to be a step in the right direction, as the original mono track is included for the first time ever, on any home video release, period other English mono tracks for the film are folddowns from a 5.
Silent Night, Deadly Night Part 2 's Blu-ray release looks much darker and more muted than it did on its original DVD run, due to the former being scanned from a print of the movie that was in much worse condition, as the original negatives are missing. Additionally, the newly authored Blu-ray included now had the added scenes in the extended cut play in standard definition instead of being remastered as they were in the previous Blu-ray releases.
Its only saving grace is the surprisingly impressive 5. Compare this to Second Sight's Blu-ray release, which boasts a 4K restoration with much crisper picture and properly formatted for widescreen televisions. Too bad it's only available in Region B and not playable elsewhere, meaning fans in North America are still stuck with Disney's shoddy DVD release Disney also hasn't bothered to release it digitally there, either.
Mill Creek's Blu-ray release of Battlefield Earth scrubs it of any film grain, resulting in over-saturated colors and awful textures. Whether or not it was to deliberately give one of the worst movies of all time a bad name is up to you. WB never did anything about it. The 4K disc seems to have correct framing, but the Blu-ray copy keeps using the old master.
Comparison examples and explanation here. All stereo and 5. In particular, Mrs. The 25th anniversary DVD and Blu-ray editions of The Last Starfighter are missing a dramatic-sting music cue about half an hour in, when Beta Alex is shown with goopy skin under his blankets. Strangely, this omission doesn't seem to be the fault of the conversion to 5.
Although most of the DVD's extras are brought over to the edition, they are of considerably worse image quality, with lots of interlacing artifacts and dot-crawl and a cropped trailer. In fact, everything on the disc, including the feature, takes up less space on the DVD, and even with a new minute retrospective the entire disc is smaller. The only thing keeping the DVD from being superior, apart from a slightly dirtier film transfer and one new extra, is the replacement of the original Universal and Lorimar logos with the Universal logo.
Live-Action TV. The mid-'90s "Re-Mastered" versions of the first three late-'80s seasons of Red Dwarf suffered from horrific picture quality, due to a combination of low-quality source material, widescreen cropping, and a nascent "filmizing" process being applied to footage that wasn't shot with filmization in mind.
For good measure, the restoration artists also wildly oversaturated the colour levels. The "Re-Mastered" project was initially done to sell the earlier seasons overseas, as the originals allegedly looked too low-budget. To a much-lesser extent, the initial Blu-Ray release of the first eight seasons had the as-broadcast third season and half of the fifth accidentally mastered in the wrong framerate, causing a grainy, blurry picture that was later corrected in a reissue of the affected discs.
Among the things that have been missed out during the restoration process on various stories are sound cues, music cues, certain special effects shots, and major hiccups with colour regrading.
Aside from genuine mistakes made by the restoration team, the classic Doctor Who restorations are generally considered excellent.
What's more, the most notable restoration errors have now been re-released with the errors corrected. For some odd reason, the initial release of " The Seeds of Death " had the VidFIRE process — which is used to restore serials to the proper Video Inside, Film Outside look they had on first broadcast — applied to the entire story instead of just the segments shot in-studio.
This was most likely a mistake that the team just didn't have time to fix, and corrected in the subsequent re-release of the story. Series 5 onward and The Sarah Jane Adventures are presented correctly at i While no official reason has been given by the BBC, it was noted that UK fans complained about the UK discs editing out the On the Next trailers from the original broadcasts, which the US discs did have On the plus side, most of the archival war footage is remastered from the surviving 35mm or 16mm originals, descratched, stabilised and re-graded.
What kills it for some viewers is that the image is cropped and scanned into widescreen. This restored version was rather controversial due to being in widescreen and not allowed to be shown due to this, so the unrestored fullscreen edition with Thames triangle logos from the s before they lost their franchise to Carlton is shown instead for reruns.
Fortunately the remastering was carried out on the full-frame pictures before cropping, and the most recent DVD and Blu-ray edition from Network restores the original aspect ratios, in line with Network's usual policy. Factory has a redone soundtrack, with reverb added to most explosions, new sound effects created in some cases and the BGM volume screwed with. Babylon 5 was filmed in a Aspect Ratioat a time when most shows were filmed inwith an eye towards future home video release on the newer wide-screen HDTVs that were beginning to become popular.
However, the CGI could be expensive and time-consuming to produce, so it was decided to render it in and crop the live-action footage to match for broadcast especially given that much of the scenes in the show were Chroma Key composited shots with CGI backgrounds.
The intent was to re-render all of the CGI for the eventual widescreen releasebut for various reasons, by the time the DVD sets were eventually released, it was instead decided to crop the CGI scenes from toeffectively a reverse- Pan and Scanreducing their resolution and making the CGI look pixelated, particularly in the Chroma Key shots where the actors were shown in native The high definition remaster of Buffy the Vampire Slayer was widely disparaged by both fans and its creators alike.
The aspect ratio was changed to from the originalusually by opening up the sides of the frame and cropping the top and bottom, sometimes creating a host of problems like making film equipment and even occasional crew members visible. Joss Whedon even stated, " Buffy was shot 4x3 [because] TVs were shaped that way. Widescreen Buffy is nonsense. Despite the fact that Poirot series and Jeeves and Wooster have excellent restorations, they have been tampered with on their recent DVDs.
Because ITV Studios Home Entertainment released them through themselves instead of Network Distributing, the restoration of Jeeves and Wooster suffers slight cropping even though it is in its original aspect ratioan edit to the final episode and the end caps changed a copyright change and the ITV Studios logo plastered over the Granada oneswhile Poirot had two Granada logos plastered over the original LWT logos and the use of the original intro and closing credits in The ABC MurdersDeath in the Clouds and One, Two, Buckle My Shoe they originally had no intro and different credits which was retained through the early DVD prints from VCI.
It has a copyright change, a logo plastered on the 1st episode, becomes widescreen though this is an aversion because it was filmed in widescreen, although it was shown in fullscreen for earlier TV transmissions and was presented that way for early DVD releasesand gains ITV Studios logos, though it retains the Central endboards for episode 2 to episode However, it's still a beautiful restoration, unlike Poirot and Jeeves and Wooster. It seems that during the restoring of the Jeremy Brett version of Sherlock Holmes for their reruns on the BBC during to and their Region 2 complete collection DVD boxset, had resulted in the loss of the old Granada logos even the ones at the beginning and ended up getting plastered over by the same Granada logo that plastered the LWT logo on the Series 1-Series 6 of Poirot, even the JCA restoration of Granada Holmes made it even worse with changed copyright and ITV Studios logos.
Averted by the Region 1 DVD release of that series due to being sourced from the original negatives. Shout Factory yet again has a tokusatsu release issue — Gekisou Sentai Carranger features noticeable artifacting in scenes where significant usage of video editing is made such as the eyecatches, chroma key and character cards.
However, this can mainly be blamed on Toei's usage of subpar sources like with the Orange Box example. This clip on the official YouTube channel for Mr. Bean retains the old ITV "black and white stripes box" in the top right corner that was a cue for the broadcast staff to cue commercials it pops up at in the video The ABC Family now Freeform airing of the Emmet Otter's Jug-Band Christmas special runs at 24 frames per second instead of the original 60, and adds film grain in an attempt to make the movie look "timeless" which of course backfired among Muppet fans.
Yes, they purposefully added digital destruction because they thought it'd make the film look better. Additionally, the special was cropped toand the cropping cut out a lot of the background which a number of fans considered to be one of the more beautiful and elaborate model sets to be made by the Jim Henson workshopand even worse, apparently the producer of this release did not know that pan-and-scan can also be applied to conversions, causing characters to have part of their heads go off-screen in certain scenes.
On the plus side, the Kermit the Frog framing device was restored, but only his appearances at the start and the end were restored and not the narration throughout the special note It's worth noting that the narration wasn't present in the original CBC and HBO airings of the special in the late s, and was only added in when ABC got the rights to air it in Subsequent home video releases did away with the film noise effect, but still present the special in 24fps note There is another possible reason why the video is in 24fps - in its original 60fps form, the video is interlaced.
When converting to progressive scan, both fields are usually melded together and then interpolated, causing frame rate to half. The other side effect of this is the picture will blur. This appears to be the case of the ABC Family and later DVD and Blu-Ray releases; when the media is paused, there is no telltale sign of interlacing but there is blurring, indicating that processing has been done to convert the video to progressive scan and inalthough the Blu-Ray release has the option to play it in the original aspect ratio.
The remastering job for the second season of Star Trek: The Next Generation was criticized for being a considerable downgrade to the one seen in the first season. In part due to CBS Digital, the studio responsible for that set and most of the later seasons, not being involved with the season and outside firm HTV-Illuminate being utilized instead.
While the live-action scenes were praised for exposing details not seen in the original SD broadcasts, the haphazard restoration of the show's visual effects and uneven efforts to recreate other shots were criticised as being a step down from the consistent high quality of the first season.
The rest of the remaster averts this, and is considered to be top notch by fans and Season 4's remastering by Modern Video Film was likewise far better received due to closer involvement with the main CBS remaster team. The complete series Blu-ray release of Fraggle Rock appears to have been upscaled from interlaced DVD sources without any sort of de-interlacing first.
The result is that any sort of rapidly-moving object looks absolutely horrible. Because of de-interlacing, the original 60 fps has been halved to 24 fps, resulting in a more film-like presentation. Hulu prints of Full House are horribly remastered. This album, like Not Insanealso sold poorly, and Columbia declined to offer them a third contract in Bergman said, "The group had really split apart; we had just burned out.
I mean it was five years non-stop work. We would stop one album and start writing the next. Frankly, we didn't have five more albums in us at that point. As Austin looked back on this period from Septemberhe wrote that he saw Proctor and Bergman wanting to take the Firesign Theatre in a different direction than he did, moving away from intensely written albums released one per year, to more live performances with lighter material.
This track and its B side, "Station Break", were included on the album. Meanwhile, Austin and Ossman toured the west coast, billing themselves as "Dr. Firesign's Theatre of Mystery". The Firesigns took it easy for the rest of the s, producing a album Just Folks Proctor and Bergman gave up their road performances after witnessing the September 4, Golden Dragon Massacreand in released another studio album Give Us a Breakwhich lampooned radio and television.
The Starland Vocal Band also performed short comic radio breaks on this album. Both projects ended in development helland rights to the character reverted to the Firesigns. When the syndication went unsold, Austin approached Rhino Records and secured a deal to release the five episodes in on a minute extended play EP record. Meanwhile, Proctor and Bergman produced a film, J-Men Foreverusing clips from old Republic Pictures movie serials with dubbed dialogue, combined with new footage of them as FBI agents tracking down a villain known as "the Lightning Bug" voiced by disk jockey M.
This became popular on the s late-night TV series Night Flight. Austin called Bergman in late to make peace and reunite the Firesigns. These included songs with music written by Austin, and were recorded; the live recordings were used to produce their last album of the decade, the Fighting Clowns. The popularity of the group cooled off after as the social and political climate of the United States changed with the election of President Ronald Reagan. They also expanded their Shakespeare parody into a road show, Shakespeare's Lost Comedie and released it on a vinyl LP, which required editing down; it was re-released uncut on CD inretitled Anythynge You Want To.
This received a nomination for the Grammy Award for Best Comedy Album and was followed in with the album Eat or Be Eatenabout a character trapped in an interactive video game. Proctor called Bergman, and the duo agreed to write and perform a serial consisting of 13 five-minute episodes, Power: Life on the Edge in L. Following the United States presidential election and with Ossman back in the group, the Firesign Theatre reunited in for a 25th anniversary reunion tour around the US, Back From the Shadowsstarting on April 24 in Seattle with an audience of 2, Firesign's Theatre of Mystery tour, and several clips from their radio work, including the earliest recorded appearance on Radio Free Oz.
This earned them their second Grammy nomination, and they developed it into a "millennium trilogy" with the Boom Dot Bust and Bride of Firesignwhich received a third Grammy nomination. Inthey released a four-CD boxed set The Firesign Theatre's Box of Dangercompiling most material which featured their most famous character, Nick Dangerincluding a bootleg recording of a live performance. Their last live performance as a quartet was on December 10, in Portland, Oregon.
Bergman died in a Santa Monica hospital on March 9,from complications involving leukemia. Austin died in Fox Island, Washingtonon June 18,from complications of cancer. Records in November The title is another Firesign inside joke: it was first used in for a fictional album hawked by Austin as "Dexter Fogg" in Martian Space Party heard on Not Insane.
Ossman called Dope Humor a sort of "dark side" to the Dear Friends album, since both were compiled from the same source, but the sketches on Dope Humor had not been constrained by the desire to keep the material radio-friendly, as had been the case for Dear Friends. Peter Bergman born under the fire sign Sagittarius in Cleveland, Ohio  on November 29, ; died March 9,  started his radio career on his high school radio system during the Korean War ; he got kicked off the air by the principal when, as a prank, he announced a Communist takeover of the school.
He studied economics at Yale class of and was managing editor of the university's comedy magazine. In his second graduate year he became a fellow in playwriting. As a member of the Yale Dramatic Associationhe co-wrote two musical comedies with Austin Pendleton.
Later, he considered attending medical school and helped produce a machine for viewing angiocardiograms and measuring blockage of the arteries of the heart. Philip Proctor born under the fire sign Leo in Goshen, Indiana  on July 28, was a boy soprano in a children's choir and studied acting at Yale.
There, he met his future partner Bergman in the Yale Dramatic Association, where he starred in the two musical comedies written by Bergman and Pendleton. He became a professional actor, with a role on the soap opera The Edge of Nightbefore contacting Bergman and joining him on Radio Free Oz in Proctor's adult tenor voice enables him to do a convincing female voice without using falsetto ; therefore he usually did most of the female roles in the Firesign Theatre and Proctor and Bergman works, though the other three Firesigns occasionally did female voices.
He also has done celebrity voice impersonations on Firesign material, including W. Proctor has also acted and appeared as a voice actor on many television shows and several feature films. Phil Austin born under the fire sign Aries in Denver, Colorado  on April 6, ; died June 18, was the youngest Firesign.
He attended college but never graduated. He was an accomplished lead guitaristand he was responsible for adding much of the music to Firesign works. He also appeared as an actor and voice actor on television. He used his natural voice as astronaut Mark Time and newsman Harold Hiphugger.
Outside of the Firesign Theatre, he has performed several voices on The Tick animated TV series and worked extensively as a producer and on-air narrator on National Public Radio and several affiliated stations. Several people have been accorded unofficial "associate Firesign" status over the years, by virtue of performing on several records with the group.
Austin's first wife Annalee performed in support of the group on several golden age albums. She is credited as a member of "the St. Ossman's first wife Tiny Tinika  performed as a St.
Williams referred to Firesign albums as "the audio equivalent of a Hieronymus Bosch painting. Siri responds to the prompt "This is worker speaking. Hello" with "Hello Ah-Clem. What function can I perform for you? On several occurrences of the Association for Consciousness Exploration ACE 's Starwood Festivaldirector Jeff Rosenbaum has organized performances of Firesign Theatre radio plays performed by organizers and guest speakers of the event under the name "Firesign Clones".
In Madison, Wisconsin ina pair of University of Illinois students opened the first of a regional chain of pizza restaurants they named "Rocky Rococo"  after the Nick Danger character, without any mention of connection to the Firesign Theatre.
The Firesigns visited the first Rocky Rococo Pizza when on tour in Madison in and reacted with good humor, joking around with the owners and giving them pictures that said, "To Rocky, from Rocky" which were hung on the wall. But inby which time the chain had grown to 62 restaurants and the Firesigns had passed their "golden age", they sent the owners a letter claiming ownership of the name.
The pizza chain's lawyers found a similar case where an Austin, Texas pizzeria named Conan's ran afoul of the copyright owners, producers of the film Conan the Barbarian. Since the creator of the Conan the Barbarian comic had similarly endorsed the restaurant by drawing Conan on its walls, the suit lost in the United States Court of Appeals for the Fifth Circuitso the Firesigns settled out of court. Ossman and his second wife Judith Walcutt formed Otherworld Media Productions in to produce audio theatre.
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