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

Iniciado por Branagh/Doyle

Seguramente, si se editase esa restauración en 4K (porque ese trabajo, en 2006, también fue finalizado completamente en 4K, aunque en SDR), con una buena codificación actual, y con el punto extra de rojo corregido, me quedaría con el trabajo de Robert Harris y su equipo sin dudarlo.

Iniciado por Ponyo_11

Pues luce fantásticamente bien, con su granico orgánico... imagino que se trata de una filtración.

Jojojojo:

Muthur dijo:

No recuerdo que Coppola/huevacosinthetable tuviese nada que ver con la "remasterización" para UHD, aunque puedo equivocarme.


Just in case anyone had any question about who was chiefly responsible for the films' aesthetic look, I encourage you to watch Emulsional Rescue which was on the 2007 release and is also on the 2022 release.


It's a fascinating watch and only 19 minutes, but if you don't have the time, go the 4:30 mark of the video. It addresses the colors, darkness, *and brightness* of the film. It runs in stark contrast to the Jan Yarbrough segment of 4K set documentary where he specifically calls out "bringing out more detail in the wedding dress" when you see in the original documentary that Gordon Willis intentionally wanted that scene to look like "old anscochrome" (4m50s mark of that video) with blown out whites. So the way to get more detail is to dial down the "blown out whites" which, sure you can choose to do that, but you're fundamentally altering the intent of the original artist.

And if there's any question who is one of, if not the, chief architect of the film's look, keep watching that Emulsional Rescue doc. You will hear nothing but praise over Willis's work, including Coppola specifically saying when he saw the first dailies and saw what Willis had done, he thanked him from the very first day. There is nothing of the disgruntled nature that say Lucas had when describing the conditions he worked with on Star Wars, or that Ridley Scott has on a lot of his works where he didn't get final cut, two artists who later "righted wrongs" in many of their works. Coppola clearly loves the work that Willis did, there is ample, incontrovertible evidence of this, and he rightfully praises him for it (as he praises Puzo for writing the source novel). So it would strike me as odd to think he’d have a change of heart on this project especially since he’s still in recent interviews praising Willis’s work. (Edited to complete this sentence)

So while there's no shortage of things I'm sure he'd change (and with Part III, that was quite a lot) there is simply no existing evidence over 50 years that he was unhappy with the way it was photographed, and in fact there is ample evidence to the opposite, that he loved it.

And when you couple that with Mr. Yarbrough's comments on the work he and his team at MPI did to "take advantage of the larger color palette, and higher dynamic range of HDR and the extra pixels of 4K TVs" on the current doc, it seems to me very clear who and where the decision was made to alter the color timing. When you watch the new documentary, you have the archivist at Zoetrope (James Mockoski) and the two women in Paramount who were in charge of the project (Andrea Kalas and Laura Thornburg) talk glowingly of the 2007 effort and how that was to be the reference point for the new project. They even mentioned it was the last thing Willis blessed, and Thornburg kept reciting the "four point yellow, one point red" to Jan and his team at MPI (she says this nearly verbatim in the 50th anniversary documentary). So with the Zoetrope Archivist and Paramount Project managers on record (via the video doc) as wanting to honor and maintain the look of the 2007 effort, but just with the added benefit of 4K transfer and a better compression codec...it's clear that it was when the data was handed over to MPI and Jan starts talking about all the changes he and his team made where the divergence from the original stated intention occurred.

It's literally on those two docs. Start with Emulsional Rescue (again on both 2007 and 2022 release, as well as that YT link above) and then watch Full Circle: Preserving the Godfather (in the 2022 release).

Iniciado por Branagh/Doyle

And when you couple that with Mr. Yarbrough's comments on the work he and his team at MPI did to "take advantage of the larger color palette, and higher dynamic range of HDR and the extra pixels of 4K TVs" on the current doc, it seems to me very clear who and where the decision was made to alter the color timing. When you watch the new documentary, you have the archivist at Zoetrope (James Mockoski) and the two women in Paramount who were in charge of the project (Andrea Kalas and Laura Thornburg) talk glowingly of the 2007 effort and how that was to be the reference point for the new project. They even mentioned it was the last thing Willis blessed, and Thornburg kept reciting the "four point yellow, one point red" to Jan and his team at MPI (she says this nearly verbatim in the 50th anniversary documentary). So with the Zoetrope Archivist and Paramount Project managers on record (via the video doc) as wanting to honor and maintain the look of the 2007 effort, but just with the added benefit of 4K transfer and a better compression codec...it's clear that it was when the data was handed over to MPI and Jan starts talking about all the changes he and his team made where the divergence from the original stated intention occurred.

Gordon Willis didn’t initially have any hands on input into timing the 2007 restoration but nor did Coppola, everything was being done in LA while Willis was way out east and Coppola presumably sequestered in San Francisco, keeping in touch with Robert A. Harris via email. Just a matter of geography.

But Daviau took an original print out to Cape Cod to screen for Willis to get his input on whether it was a true colour reference - presumably gleaning first hand insights into what Willis wanted - and when work was far enough advanced they got Coppola in to view some tests and give his explicit approval. The final results were of course screened for both men where Willis was compos mentis enough to note that the modern print stocks couldn’t handle the blacks properly (which is why to this day Robert A. Harris prefers seeing the 2007 restoration exhibited as data rather than film print).

So, in a way, calling that The Coppola Restoration was something of a misnomer and IMO it’s why they went back and did it all again 15 years later, so Coppola could truly oversee the project and make sure his personal tastes were imprinted upon the movies (he worked besides the colorist in the same room at Zoetrope headquarters).

Has he rolled back the revisionism of the 2007 edition to get it more like how it was, or has one bout of revisionism been replaced with another to fit whatever Coppola’s modern day sensibilities are? Probably a bit of both. But I’m very glad the 2007 versions are still there on those blurays and while they’re not perfect they’re still a fine way to watch the movies.

I do have to chuckle though at the, not hand-wringing per se, but the consternation that’s greeted the change to the colour palette of these movies because a fair few people absolutely hated how the 2007 restoration looked when they first appeared. Too dark, too yellow, too orange, nothing like how they did back in the day, but flash forward 15 years and they’re regarded as scripture. That’s not a dig at anyone in particular, it’s just how it goes.

Más.


In an old interview with Gordy Willis from well before this restoration was a twinkle in RAH's eye he'd plainly said that his intention was to bathe the movie in a golden amber hue, they even used lights on-set that were warmer than the regulation 3200K tungsten to do this.

But for whatever reasons it seems it never quite made it into the final theatrical 'look' of the film so while the 2007 could definitely be considered as a revision in one sense, especially the retrofitting of Part III to match that golden look, it was actually something that Willis HAD intended all along and had even lit the movie for, yet it never translated across properly.

Reading between the lines it might be worth regarding the 2007 as the 'Willis/RAH Restoration' and call the 2022 iteration the actual 'Coppola Restoration'.



Y en respuesta a esto:


By all accounts, I was color timed in 2007 to meticulously match the archived, I.B. Technicolor answer print that was held by the Academy Archive. Harris even said that said print had the lab sign-off papers from Gordon Willis from 1972 approving the color still in the film cans. II, on the other hand, didn't have a single perfect print- they had to Frankenstein one together from several different I.B. prints, picking the best looking scenes from each, in order to come up with a single, decent reference print. Since said print wasn't the ACTUAL answer-print, though, I'm sure they felt they had some leeway when it came to color timing II back then vs. I. And III, yeah, I believe you're right that they adjusted that one to more closely match the looks of I and II.