Hello AVS readers,
I received my BD of THE TEXAS CHAIN SAW MASSACRE from MPI and I have to say (even though I have NOT watched the entire disc yet), that I am thoroughly pleased with the HD encode and presentation on the BD disc.
This version looks almost identical to what the original HD masters I made looked like and there is a huge improvement in picture quality over the standard def DVD.
There was no outside EE applied (as Vincent Pereira stated earlier, I hate EE and do not use it for any transfers that I supervise), nor does it seem that any grain-reduction or processing was done during the BD encode, thank goodness.
Honestly, I was shocked at how nice the TCM BD looked and I think, if you are a fan of the film, you will be pleased with the release. Of course, like I said, I haven't gone through it 100% yet, but I did watch about 15 minutes of it in various places and was quite happy with what I saw.
All my hard work on this film for the past 15 or so years seems to have paid off, in spades, with the BD release.
In regards to the A/B roll Interneg questions. I decided to create new materials, just to remain true to the 16mm origins of the film. We certainly had access to the 35mm materials, but i made a conscious decision NOT to use them because they were all 16mm to 35mm blow-up materials. I bit the bullet, got the A/B roll and created a 16mm IN element with all new timings based on my discussions and meetings with director Tobe Hooper (the original timing sheets were all gone).
We didn't just run the A/B roll through the telecine because I was worried that they were too brittle and the splices were weak. The telecine unit could've easily snapped the materials and that scared the crap out of me. Even while printing the new materials some splices DID snap in a few places (thank goodness they only happened on cuts and not in the middle of shots) and we were able to safely repair everything. If we were to do an A/B roll transfer and then assemble everything together we'd still have to create "artificial" dissolves, etc in editing. Creating the new 16mm IN film material was safer and allowed us to print the dissolves optically, just like in the original materials.
Also, having the newly timed 16mm IN helps in preserving the original TCM on film, instead of video. The A/B roll was in pretty bad shape and was pretty poorly stored over the years. Making the new single-strand IN was my way of helping preserve the film in the best way possible. This IN will go a long way in helping preserrve the film for years to come, even if the A/B roll eventually becomes unusable or ruined.