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post #1 of 7 Old 11-24-2009, 11:56 AM - Thread Starter
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I was surprised there was no thread here about this release. I watched it on the weekend and think the Blu-ray looks amazing. I figured the film purists here would really like this transfer and encode. I think it's one of the very best looking catalog Blu-rays there is. If only Sony owned all catalog titles we'd be much better off.

The movie is really a classic IMO and I'm glad it's finally out on Blu-ray. Did I mention I love Andie MacDowell?
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post #2 of 7 Old 11-24-2009, 01:15 PM
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Quote:
Originally Posted by RDarrylR View Post

Did I mention I love Andie MacDowell?

You pretty much have to to watch this film. Although Laura San Giacomo does add something.
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post #3 of 7 Old 11-24-2009, 01:59 PM
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...and the audio is at 24 bit / 96 kHz Dolby TrueHD! I believe the recent release of LEON was as well. Is this a change from the DTS-HD MA tracks that Sony had switched to? Now it's back to TrueHD, but at 96 kHz???

--------------------------------------------------------------------------
Steven Soderbergh's 'King of the Hill' on Blu-Ray.
That's all I want... Is that so much to ask?
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post #4 of 7 Old 11-24-2009, 02:04 PM - Thread Starter
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Yeah I forgot about that. I was kind of shocked that it came up as 96 and was checking my receiver to see if I had messed up a setting somewhere. Hopefully it will become a standard but you likely couldn't tell any difference with this particular Blu-ray.
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post #5 of 7 Old 11-25-2009, 07:25 PM
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Yes Amazing transfer. Andie MacDowell was Amazing too.
I did hear one audio glitch (pop?) towards the end (OPPO 83).
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post #6 of 7 Old 09-05-2012, 06:46 PM
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This is pretty cheap at BB right now, in case anyone's interested. Great movie, with a decent xfer, though it does have fairly coarse grain and detail compared to most newer releases.


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post #7 of 7 Old 09-18-2012, 05:18 PM
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Part of what gives this film its somewhat unique look is the film stock that was used. According to IMDB, this was shot on Agfa XT320, which is a fairly fast/lower contrast film that's no longer available... hence the somewhat coarser grain/detail.

 

I'm familiar with Agfa products from still photography classes, but don't think I was aware they also made motion picture film prior to looking at this. According to Wikipedia, Agfa began making commercial film in 1936, though they have since discontinued their motion picture stocks.

 

Some other films shot on Agfa XT, from here:

 

Quote:

Agfa was one of the first higher-speed stocks to incorporate a T-grain-type design into one of its layers. This was one reason why the XT-320 was so popular when it came out -- many people thought it was less grainy than 5294, the 400T Kodak stock available. Plus it had a wider exposure latitude (it was a lower-contrast stock.) For example, the last act in the warehouse in "Roger Rabbit" was shot on Agfa XT-320 because Dean Cundey did not want to use '94 (he shot most of the movie on 5247 125T).

It was not as edge-sharp as Kodak and had a brownish cast with colder blacks (and less black blacks). It reproduced greens lighter, which is why some people used it. Later Kodak stocks were definitely finer-grained.

The South Seas nightclub scene in "The Rocketeer" was shot on Agfa XT-320 to handle the blue-green color scheme.

It really helped to overexpose Agfa, which solved the problems with the blacks and grain, and added some snap back into the image. This is one reason why David Watkin used the high-speed Agfa outdoors in the sun for "Out of Africa" but medium-speed Kodak 5247 at night -- he was overexposing the Agfa so it wasn't that much faster than the Kodak anyway, and the Kodak had better blacks.

Other examples of Agfa movies:
Mountains of the Moon
Hamlet (Mel Gibson / Zeferelli version)
Memphis Belle
Gorillas in the Mist
Passion Fish
The Mission (except for day exteriors on 5247)
Robin Hood: Prince of Thieves
Moonstrck
A Fish Called Wanda
Henry V
Life is Sweet
Honey I Shrunk the Kids
a few parts of "Last of the Mohicans"

Besides the softness and low-con look, I tend to think of Agfa has having warm brownish skintones but a powder blue bias to the shadows.


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