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Author Topic: Kino Lorber 2 - Disc 4K Blu-ray 2017  (Read 12291 times)
drinkanddestroy
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« Reply #120 on: July 10, 2017, 10:22:14 AM »


The dollars trilogy were shot on 2p techniscope, which gave you two anamorphicly squeezed frames in the same area you'd only get one frame on traditional 35mm. Essentially you'd get twice the length of footage per roll of film that way...a lot of spaghetti westerns used it because it was cheaper. The reduction in image quality is very small - you can still get a very robust image out of the neg, especially with modern technology. Check out the Italian disc for FOD, fantastic restoration

Yes the Mondo FOD is best, I just wonder if it really looks as it did when the movie was released. Is it really "restored," or is it in fact "improved"?  Wink

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« Reply #121 on: July 10, 2017, 11:00:25 AM »

Most films on blu don't look like what they did in the theatre, because they're sourced from the negative. Prints are usually at least 2 generations away from the negative, they usually have more contrast, more grain etc, like a photocopy of a photocopy. The one advantage of the degradation is that it hides flaws, a classic example is the wires on the alien spaceships in war of the world's, they were hidden by the generation loss...once the film was scanned from the negative for home video the wires were way too apparent. Same with some of the effects in the Star Wars trilogy etc. for the dollars films some of the cheapness of sets, makeup etc shows through more on home video.

For fod they specifically fixed some flicker issues, film stock flashing issues, some hairs in the gate etc. I'm fine with that because those werent creative decisions, they were flaws from using cheap stock or mistakes made during filming.

« Last Edit: July 10, 2017, 11:04:02 AM by Jordan Krug » Logged
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« Reply #122 on: July 10, 2017, 12:12:22 PM »


The dollars trilogy were shot on 2p techniscope, which gave you two anamorphicly squeezed frames in the same area you'd only get one frame on traditional 35mm. Essentially you'd get twice the length of footage per roll of film that way...a lot of spaghetti westerns used it because it was cheaper. The reduction in image quality is very small - you can still get a very robust image out of the neg, especially with modern technology. Check out the Italian disc for FOD, fantastic restoration

Leone shot all his westerns on Techniscope. Except Nobody.

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« Reply #123 on: July 11, 2017, 08:42:49 AM »

I did read somewhere that one of the reasons "FistFul" got made was because the film stock was soon to be expired, and needed to be used.

I think the Techniscope framing helped "push" Leone to his unique style.

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« Reply #124 on: July 16, 2017, 06:06:00 AM »

Does anyone know if the P.E.A. credit under Grimaldi's name will be restored?

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« Reply #125 on: July 16, 2017, 07:59:11 AM »


I think the Techniscope framing helped "push" Leone to his unique style.

But the framing is more or less the same in every 2,35:1 film format.

Techniscope had some special characteristics, which I think every kind of film stock has, but I doubt that that was very important for the creation of Leone's style. But may have influenced some creative choices though.

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« Reply #126 on: July 16, 2017, 09:46:18 AM »

Looking at the Techniscope entry at Wikipedia, I see:
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Techniscope's advantages over anamorphic CinemaScope are:

More economical: half the film stock used in 4-perforation frame cinematography; half the stock, same running time, less negative to develop.

Cinematography requires simpler, but technically superior, spherical lenses.

Film stock loads last twice as long; 2-perf stock shoots at 45 feet per minute (@24fps), while 4-perf stock shoots at 90 feet per minute.
Perhaps the slower film speed encouraged Leone to do longer takes?

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« Reply #127 on: July 16, 2017, 10:37:11 AM »

Looking at the Techniscope entry at Wikipedia, I see:Perhaps the slower film speed encouraged Leone to do longer takes?

And do a lot of angle experiments?

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« Reply #128 on: July 16, 2017, 11:20:18 AM »

Does anyone know if the P.E.A. credit under Grimaldi's name will be restored?

No its not restored.

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« Reply #129 on: July 16, 2017, 01:32:14 PM »

Of course.
The major artistic difference to CinemaScope (or any other anamorphic process) is the depth of focus possible when filming with TechniScope. The image compositions Leone did together with his cinematographers would NOT have been possible with anamorphic lenses!

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« Reply #130 on: July 16, 2017, 01:35:56 PM »

I hate CinemaScope, because whenever you pan across the landscapes, the image looks curved. This does not occur with Techniscope.
Also, with CinemaScope, faces look shorter and fatter than on other formats. I don't believe this occurs with Techiscope.

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« Reply #131 on: July 16, 2017, 02:21:28 PM »

With TechniScope one could use regular wide angle lenses which was the base for the now iconic Leone-style-photography. It is technically just not possible to get those kind of shots with anamorphic lenses, who distort and offer only a limited amount of depth of focus. I just dealt with the subject for the German TWO-LANE BLACKTOP Blu-ray release, Monte actually had shot the film in TechniScope for those reasons (the get as many different in-focus shots inside / outside the cars).  

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« Reply #132 on: July 18, 2017, 10:21:48 AM »

You guys need to read my article on "My Name is Nobody" in Cinema Retro. I'm going to shamelessly quote myself here:

Quote
Two peculiarities of the Italian film industry, post-synchronisation of sound and the Techniscope film format, also contributed to the emergence of Leone’s style. The former allowed a mobile camera during shooting and the playing of music on set to keep actors in rhythm, while in post-production sounds could be manipulated and exaggerated as a commentary on, or integral part of, the action. The latter allowed for large widescreen compositions without the distortion of close-ups associated with American CinemaScope.

By the way, the most recent issue of Cinema Retro apparently (I haven't seen a copy myself yet) corrects a few errors the editors made when writing their own captions to the accompanying photos in the article.

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« Reply #133 on: July 18, 2017, 12:31:25 PM »

But Nobody at least wasn't shot in Techniscope, instead with the usual anamorphic lenses.

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« Reply #134 on: July 18, 2017, 02:58:34 PM »

Sure, but we're talking about the development of Leone's style in general. Plus with "Nobody" we have the curious situation of one person being the director and another being the auteur.

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