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Aviator - Weird Color

post #1 of 26
Thread Starter 

I just got this (a good deal for $10):

 

http://www.amazon.com/Scorsese-Feature-Goodfellas-Aviator-Departed/dp/B007TBJD1U/

 

3 separate discs inside.

 

I popped in Aviator, and I thought my system was broken. The greens are blue-ish for the first half of the movie (until the family dinner at her house).

 

Then, I played the DVD and it is the same. I sure don't remember it being this way. Am I trippin?

 

1. What's the deal?

 

2. Is there a proper copy?

 

3. If he did this on purpose, anyone else think it was a mistake?


Edited by Tesla1856 - 1/20/13 at 11:27am
post #2 of 26
It was intentionally done that way to emulate the type of film used during the period the movie takes place. It accurately imitates the look of 2-strip and 3-strip Technicolor. There is nothing wrong with your display.
post #3 of 26
Yep, the german release by disney is the best
post #4 of 26
It's interesting that this question continually arises.
post #5 of 26
Thread Starter 
Quote:
Originally Posted by lgans316 View Post

Yep, the german release by disney is the best

In that one ... is the grass and plants green in the first half of the movie?

 

This one, right?

 

http://www.imdb.com/title/tt0338751/?ref_=fn_al_tt_1

post #6 of 26
Thread Starter 

At least the press photos are the right color.

 

Here: http://www.imdb.com/media/rm3204362240/tt0338751

 

What's also interesting about the above photo ... it appears to be from the movie, but it's actually from a slightly different angle.

 

And here is another ... pretty sure they are just posing for the photo camera here.

 

 

There are others, but you get the point.

post #7 of 26
Quote:
Originally Posted by Tesla1856 View Post

At least the press photos are the right color.
Well yeah, they haven't been intentionally color-graded towards a certain aesthetic...
post #8 of 26
Thread Starter 

I agree with Vincent LoBtutto (author of Martin Scorsese: A Biography). After 2 paragraphs about Two-Strip color in The Aviator,
http://books.google.com/books?id=HcMafLPTW-AC&pg=PA353&source=gbs_toc_r&cad=3#v=onepage&q&f=false
Scroll to page 375

 

… he summarizes by writing:

The three-strip section works to evoke memories of viewing old, lush, color movies but the two-strip only can truly excite a film historian, buff, or scholar such as Scorsese.

 

With all the period film footage that is shown in the movie, there was other ways for Mr. Scorsese to show the advancement of color technology in film making. Distorting “our view” into the life of Howard Hughes (and the time period) was un-necessary, and in my opinion, damaging. Three-strip is pushing it. I equate this to his artistic decision of presenting Raging Bull in Black-and-White… its acceptable. But Two-Strip is un-called-for. What’s next … using period aspect ratios, resolution, and mono sound? The Aviator used to be one of my favorite movies, but now … the distracting colors make it much less enjoyable.


Edited by Tesla1856 - 1/29/13 at 2:21pm
post #9 of 26
Quote:
Originally Posted by Tesla1856 View Post

I feel like I should start an online petition or formally complain to someone.
Good idea. I fully support you putting as much time and effort as you can possibly afford into your attempt to convince Martin Scorsese that the artistic decisions he made a decade ago were misguided and should be retroactively "fixed."

Be sure to let us all know how that works out for you...
post #10 of 26
Thread Starter 
Quote:
Originally Posted by Steeb View Post


Good idea. I fully support you putting as much time and effort as you can possibly afford into your attempt to convince Martin Scorsese that the artistic decisions he made a decade ago were misguided and should be retroactively "fixed."

Be sure to let us all know how that works out for you...

Thanks. So that's two people already.  smile.gif

 

Think he would fix it in an Anniversary Edition? It's common to provide multiple versions. How about a Disc-2 Extra: "First Half of the Movie Before We Colorized It".

Someone has a proper color version ... before the color-post-processing. It would be effortless to supply it.

post #11 of 26
Considering the colors aren't broken AT ALL, there is no reason to fix it. That's how Scorsese wanted it from the beginning.
post #12 of 26
Quote:
Originally Posted by Tesla1856 View Post

Someone has a proper color version
You're right: the "proper color" is the color on your disc.
And getting neutral color, which in this case would be the wrong color, would actually require considerable effort, because the color grading is part of the film's digital master. Since that effort would go against the even more considerable effort originally put in to achieving the film's stylized look, I wouldn't hold your breath.
post #13 of 26
Jesus wept.
post #14 of 26
Thread Starter 
Quote:
Originally Posted by Big Brad View Post

That's how Scorsese wanted it from the beginning.

Yes, I understand. I appreciate you initial response because I truly thought I had some "deep color" or disc mastering problem.

 

I guess I should have searched the Internet better before I posted my original question. A non-colorized version doesn't exist. Unfortunate, but I get it.

 

Not in your case, but it's interesting some of the responses I'm getting here. I thought more people might agree it was a questionable (if not bad) artistic decision on his part.

post #15 of 26
I think he should release a new extended edition with the entire movie given a green tint.
post #16 of 26
Thread Starter 
Quote:
Originally Posted by 42041 View Post


You're right: the "proper color" is the color on your disc.
And getting neutral color, which in this case would be the wrong color, would actually require considerable effort, because the color grading is part of the film's digital master. Since that effort would go against the even more considerable effort originally put in to achieving the film's stylized look, I wouldn't hold your breath.

I don't know what happens to all the original film and digital "video source code" after the film is mastered. You think they just throw away the original film? Not sure if Legend Films did it, but someone had to digitize the movie before they could colorize it. You think that file is deleted?

post #17 of 26
Thread Starter 
Quote:
Originally Posted by DJ Mike TJG View Post

I think he should release a new extended edition with the entire movie given a green tint.

Agreed ... a non-colorized version.

 

He went to considerable effort to accurately reproduce "the 30's" on film. The sets, wardrobe, technology (planes and cars). All to turn around and colorize it at the end of the process?

 

It's my opinion that presenting the film without the colorizing would have gone further to make the viewer believe they were watching "the 30s".

post #18 of 26
Quote:
Originally Posted by Tesla1856 View Post

I don't know what happens to all the original film and digital "video source code" after the film is mastered. You think they just throw away the original film? Not sure if Legend Films did it, but someone had to digitize the movie before they could colorize it. You think that file is deleted?
Of course they still have the original negatives, but re-scanning all of it would be decidedly non-trivial. No idea if they archived any ungraded digital material. It's a moot point anyway, the film is what it is, unless Scorsese decides otherwise.
post #19 of 26
Quote:
Originally Posted by Tesla1856 View Post

I don't know what happens to all the original film and digital "video source code" after the film is mastered. You think they just throw away the original film? Not sure if Legend Films did it, but someone had to digitize the movie before they could colorize it. You think that file is deleted?

The film wasn't "colorized" (in the way that word is normally used, i.e. turning a black and white film into color), it was designed and photographed that way. The first part is intended to look like two strip Technicolor (more accurately, the Hughes Corp.'s All Color process) and the second is the three strip Technicolor look. As with all modern films, it went through digital color timing (grading) to achieve its final intended look. The theatrical prints looked like that also and as soon as the film started I knew what Scorsese was up to. It's a wonderful effect.

More info: http://www.theasc.com/magazine/jan05/aviator/page1.html
post #20 of 26
Thread Starter 
Quote:
Originally Posted by NJPete View Post


It's a wonderful effect.

More info: http://www.theasc.com/magazine/jan05/aviator/page1.html

So you liked the "digitally emulated two-strip effect" ... interesting.

 

Thanks for the link. It always amazes me how much care and thought is put into some movies.

post #21 of 26
The moment I saw it in the theaters I realized what he was getting at. And I chuckled to myself at what the reaction was going to be when it hit digital media.

What I couldn't understand was all the people who panicked about their displays, when all they had to do was pop the disc and play another one. It's the scientific method.
post #22 of 26
Quote:
Originally Posted by Tesla1856 View Post

What’s next … using period aspect ratios, resolution, and mono sound?

Lord knows, absolutely no one would ever put up with something like that.
Quote:
The Aviator used to be one of my favorite movies, but now … the distracting colors make it much less enjoyable.

The movie's colors have always been this way. It has never changed. It used to be one of your favorite movies, until you opened your eyes and looked at it?
post #23 of 26
Thread Starter 
Quote:
Originally Posted by Josh Z View Post


Lord knows, absolutely no one would ever put up with something like that.
The movie's colors have always been this way. It has never changed. It used to be one of your favorite movies, until you opened your eyes and looked at it?

Black and White is a different thing. Plenty of movies in B&W.

 

You know, the first time I saw it I didn't really notice it ... kinda just wrapped up in it. I didn't watch the full movie on DVD that many times on the plasma. I also watched favorite parts, but usually on the computer. Watching new Blu-Ray on the projector and the new Polks ... that's when I noticed it.

 

Thanks for the help everyone and the spirited exchange. I kinda over it by now. I might still write and send the letter to Mr. Martin Scorsese, but it seems I'm the minority here, so maybe not. If nothing else, maybe the thread alerted you to the Blu-Ray sale at Amazon.

post #24 of 26
Quote:
Originally Posted by Tesla1856 
What’s next … using period aspect ratios, resolution, and mono sound?
Quote:
Originally Posted by Josh Z View Post

Lord knows, absolutely no one would ever put up with something like that.
Quote:
Originally Posted by Tesla1856 View Post

Black and White is a different thing. Plenty of movies in B&W.
From the link you clearly didn't read:
Quote:
The movie was shot in the 1.33:1 "Academy ratio," just as in silent-film days, since director-writer Michel Hazanavicius considered it 'perfect for actors' because it gives them 'a presence, a power, a strength. They occupy all the space of the screen.'
Quote:
There is not a single 'zoom shot' in the entire movie because Zoom technology did not exist in the movie's time period.
Quote:
Originally Posted by Tesla1856 
Thanks for the help everyone and the spirited exchange. I kinda over it by now. I might still write and send the letter to Mr. Martin Scorsese, but it seems I'm the minority here, so maybe not. If nothing else, maybe the thread alerted you to the Blu-Ray sale at Amazon.
I absolutely think you should write and send that letter. I also think you should post its contents here in this thread.
post #25 of 26
Quote:
Originally Posted by Tesla1856 View Post

So you liked the "digitally emulated two-strip effect" ... interesting.
Since it is part of the original movie as it appeared in theaters, the option of being different is very odd, or "interesting". This seems like saying "I wish the Mona Lisa had more accurate colors in the background. You like it the way it is? That is... interesting."
post #26 of 26
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