THE COMPLETE KUBRICK – ABOUT THE MASTERS
All features are presented in Dolby Vision HDR (high dynamic range) on the 4K Ultra HD discs and high-definition SDR (standard dynamic range) on the Blu-rays.
Feature encoding: Fidelity in Motion; NexSpec (Barry Lyndon)
KILLER’S KISS (AND EARLY WORKS)
Killer’s Kiss is presented in the aspect ratio of 1.37:1. This 4K restoration was created from the 35 mm original camera negative, with a 35 mm composite fine-grain used for some sections.
The original monaural soundtrack was remastered from the 35 mm magnetic track.
Mastering supervisor: Blake David-Blasingame/Duplitech, Torrance, CA • Restoration supervisor: Michael Coronado/Duplitech • Colorist: Paul Byrne • Image restoration: Duplitech • Audio restoration: The Criterion Collection
Fear and Desire is presented in the aspect ratio of 1.37:1. This 4K restoration was undertaken by Kino Lorber and created from the 35 mm original camera negative and a 35 mm fine-grain positive preserved by the Library of Congress. The monaural soundtrack was remastered from the 35 mm fine-grain positive.
Day of the Fight, Flying Padre, and The Seafarers are each presented in the aspect ratio of 1.37:1. These new 4K restorations were undertaken by the Criterion Collection and made from elements preserved by the Library of Congress: a 35 mm composite positive print and a 35 mm duplicate negative for Day of the Fight, a 35 mm composite positive print for Flying Padre, and the 16 mm original reversal positive for The Seafarers.
THE KILLING
The Killing is presented in the aspect ratio of 1.66:1. This 4K restoration was created from the 35 mm original camera negative. The monaural soundtrack was remastered from the 35 mm original magnetic track.
Mastering supervisor: Blake David-Blasingame/Duplitech • Restoration supervisor: Michael Coronado/Duplitech • Colorist: Ben Gilbert • Image restoration: Duplitech • Audio restoration: The Criterion Collection
PATHS OF GLORY
Paths of Glory is presented in the aspect ratio of 1.66:1. This 4K restoration was created from the 35 mm original camera negative. The monaural soundtrack was remastered at 24-bit from UCLA film archivist Robert Gitt’s 35 mm monaural magnetic track.
Mastering supervisor: Blake David-Blasingame/Duplitech • Restoration supervisor: Michael Coronado/Duplitech • Colorist: Paul Byrne • Image restoration: Duplitech • Audio restoration: The Criterion Collection
SPARTACUS
Spartacus is presented in the aspect ratio of 2.20:1. Undertaken by Universal Pictures, this 4K restoration was created from a 6K scan of the original large-format Technirama film elements. The 7.1 surround soundtrack was remastered from the 70 mm 6-track original printmaster. The restoration was performed at NBCUniversal StudioPost. Additional scanning and restoration services were provided by Warner Bros. Motion Picture Imaging, MTI Film, and Prasad Digital Film Technology.
Restoration consultant: Robert A. Harris
LOLITA
Lolita is presented in the aspect ratio of 1.66:1. This new 4K restoration was created from the 35 mm original camera negative. A 35 mm print provided by Warner Bros. was used as a color reference. The monaural soundtrack was remastered from the original 35 mm DME magnetic track.
Mastering supervisors: Lee Kline, Giles Sherwood • Colorist: Bossi Baker/Resillion, Burbank, CA • Image restoration: Prasad Corporation, Burbank • Audio restoration: The Criterion Collection
DR. STRANGELOVE, OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB
Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb is presented in the aspect ratio of 1.66:1 and was restored in 4K by Sony Pictures Entertainment from a 35 mm fine-grain master, a 35 mm duplicate negative, and a 35 mm print.
4K scanning, digital image restoration, conforming, and color grading: Cineric, Inc., New York • Audio restoration: Chace Audio • Additional restoration and HDR grading: Deluxe Culver City, with colorist Sheri Eisenberg • Restoration supervisor: Grover Crisp/Sony Pictures Entertainment
2001: A SPACE ODYSSEY
2001: A Space Odyssey is presented in the aspect ratio of 2.20:1. Undertaken by Warner Bros., this 4K restoration was created from an 8K scan of the 65 mm original camera negative. A 35 mm check print was used as a color reference. The original 70 mm theatrical 5.1 surround soundtrack was remastered from the 6-track magnetic track.
For the film’s 35 mm general theatrical release, director Stanley Kubrick created a monaural mix that omits the film’s overture, intermission, and exit music. The monaural soundtrack as presented in this release is silent during these passages.
Mastering supervisors: Ned Price and Leon Vitali, with input from Christopher Nolan and Hoyte van Hoytema • Colorist: Janet Wilson/Warner Bros. Motion Picture Imaging, Burbank • Audio restoration: The Criterion Collection
A CLOCKWORK ORANGE
A Clockwork Orange is presented in the aspect ratio of 1.66:1. Undertaken by Warner Bros., this 4K restoration was created from the 35 mm original camera negative. A 35 mm check print was used as a color reference. The monaural soundtrack was remastered from the original 35 mm DME magnetic track.
Mastering supervisor: Vishal Chathle, with support from Leon Vitali • Colorist: Janet Wilson/Warner Bros. Motion Picture Imaging • Audio restoration: The Criterion Collection
BARRY LYNDON
Barry Lyndon is presented in the film’s photographed aspect ratio of 1.66:1, as specified in a December 8, 1975, letter from director Stanley Kubrick to projectionists. This 4K restoration was created from the 35 mm original camera negative. The high-definition transfer created in 2000 and supervised by Leon Vitali, Kubrick’s personal assistant, served as a color reference for this master. The original monaural soundtrack was remastered from the 35 mm DME magnetic track.
Mastering supervisors: Lee Kline, Giles Sherwood • Colorist: Janet Wilson/Warner Bros. Motion Picture Imaging, with additional color by Sheri Eisenberg/Warner Bros. Motion Picture Imaging • Image restoration: Prasad Corporation • Audio restoration: The Criterion Collection
THE SHINING
The Shining is presented in the aspect ratio of 1.85:1. Undertaken by Warner Bros., this 4K restoration was created from the 35 mm original camera negative. A 35 mm answer print was used as a color reference. The monaural soundtrack of both the theatrical and international versions was remastered from the original 35 mm DME magnetic tracks.
Mastering supervisor: Ned Price, with support from Leon Vitali • Colorist: Janet Wilson/Warner Bros. Motion Picture Imaging • Audio restoration: The Criterion Collection
FULL METAL JACKET
Full Metal Jacket is presented in the aspect ratio of 1.85:1. Undertaken by Warner Bros., this 4K restoration was created from the 35 mm original camera negative. A 35 mm answer print and director Stanley Kubrick’s personal 35 mm reference print were used as color references. The monaural soundtrack was remastered from the original 35 mm DME magnetic track.
Mastering supervisor: Vishal Chathle, with support from Leon Vitali • Colorist: Janet Wilson/Warner Bros. Motion Picture Imaging • Audio restoration: The Criterion Collection
EYES WIDE SHUT
Eyes Wide Shut is presented in the aspect ratio of 1.85:1. Supervised and approved by director of photography Larry Smith, this 4K restoration of the international cut of the film was created from the 35 mm original camera negative. A 35 mm print provided by Warner Bros. was used as a color reference. The original theatrical 5.1 surround soundtrack was remastered from the 35 mm magnetic track.
In order to facilitate director Stanley Kubrick’s shooting strategy, which required the picture’s film stock to be force-developed by two stops at Deluxe in London, Smith conducted extensive photographic tests at the prep stage. Chester Eyre, director of operations at Deluxe, noted in the October 1999 issue of American Cinematographer that Kubrick never limited himself to standard lab practices, particularly in the case of Eyes Wide Shut.
“Stanley had his own ideas about what each picture should look like, and what he was trying to achieve with it. On Eyes
Wide Shut, he told me he was going to rate the negative stock faster than the actual recommended speed, and that he wanted us to force-develop it two stops to bring it back to its original exposure level. That created several advantages for him: he could work with less light and obtain a particular mood. Force-developing in that way is very unusual, and it’s normally done as a last resort if the filmmakers are losing their light and are desperate to get a shot. On this picture, though, it was a deliberate strategy that was designed to get a special look.”
Mastering supervisors: Lee Kline, Giles Sherwood • Colorist: Greg Fisher/Company 3, London • Image restoration: Resillion • Audio restoration: The Criterion Collection
Stanley Kubrick Collection (1951-1999) (Criterion Collection)
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Stanley Kubrick Collection (1951-1999) (Criterion Collection)
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