Tema: El padrino (The Godfather, 1972, Francis Ford Coppola) y secuelas

Iniciado por Branagh/Doyle

Harris ha continuado explicándose (negritas mías):

(...)

Actually, Mr. Willis approved all elements, albeit some with very specific notes - 35mm prints (which he viewed), 4k DCP, and Blu-rays.

And going back in time, I recalled forwarding him a 2009 response from Patrick McCart, to which he replied as follows:

I'm pleased Patrick McCart recognizes the elegance of simplicity... not getting motion confused with accomplishment. I had a hard enough time making people understand that when I was shooting these films. I'm delighted when someone looks, and actually sees that these films were Restored.... not remade.....of course, I'm delighted when someone is looking at anything, as opposed to texting. I also have to thank Patrick for the recognition of visual structure as it relates to story telling.

Thank you Patrick, that was very nice.

Gordon Willis"

(...)

To be clear, this received my "stamp of approval" as a new work for a new generation of film fans.

There are now two versions of the film, and both are relevant to different sets of eyes.


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One represents the look and textures of original 1972 and 1974 prints, while the other takes the original negative and revisualizes certain attributes, while generally respecting the original.

They're different.

If one were to try to categorize the 2022 as wrong, they would be incorrect.

It's just a new take on what was captured within the emulsion of the original negative.

The 2007 is still what it is, and could be released in 4k as an interesting alternative, without HDR or Dolby Vision should the studio elect to do so.



(...)

I’ve described performing color and density for these films as akin to riding the edge of a razor blade. Decisions regarding where to place shadow detail, especially as permitted by Mr. Willis original photographic design, as well as how to handle his specific desires toward highlights, is all an extremely delicate matter.

It is all by design, and cannot be left to digital experimentation.

We have wonderful digital tools today. Some better than we had in 2007.

The trick is knowing when, and when not to use them.

I don’t desire to get into a long back and forth on the subject.

Suffice to say, that the 2022 release is a slightly different experience, by design, both as seen through a different set of eyes, as well as via the application of HDR or Dolby Vision.

Any deep dive into the weeds would necessitate a master’s class, working shot by shot, and I’m not going there.

The films are still The Godfather(s), and as such, there’s nothing that minor visual alterations can do to change their structure, brilliance and craftsmanship, regardless of which generation is their intended audience.

Through Paramount’s most recent work, the elements are protected and supported for generations to come.

Hopefully, these words will suffice toward discussions occurring at HTF and elsewhere.

De verdad que no doy crédito. No puedo creer lo que leo

"Es diferente, está hecha para 2022, pero respeta el original". Qué huevos. Parece un sketch de Faemino y Cansado.

Miedo me da cuando veais los featurettes de restauración.. y sobre todo, los de comparación.