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No one understands film grain - they read stuff on the Internet and think they do, then use whatever catchphrases they've read - every reviewer does this - but then 99% of the people reviewing have no business reviewing toilet paper let alone a film transfer. End of rant part one.
That's a ridiculous statement.
Thanks for proving my point. Tell us all about what you know of film grain and what that knowledge is based on. Because my statement is not only not ridiculous it is entirely and utterly accurate. 99% of the "reviewers" reviewing have never even seen 99% of the films they're reviewing outside of previous home video releases. They know nothing about film, grain, or much of anything else other than what they've gleaned from Mr. Harris and a few others.
I'm still waiting for your point. Other than you think you're a one percent elitist. I could post examples and even give you quotes from film producers, but it would be a waste of time.
My point is that people talk about grain - likes, dislikes, without understanding it. There's one idiot "reviewer" who goes on and on about "lovely, thick grain." Well, there nothing lovely about thick grain unless it's an optical in which case that's what you get. Yeah, give me some quotes from film producers about grain - would love to see them. More importantly, give me some quotes from directors and cameramen about grain. Grain comes with film - that's the way it is. It should be very fine in the best of circumstances and it should never be so noticeable that it's noticeable - but it is part of FILM and to remove it artificially for no good reason, just because people today like their spotless digital images is just silly.
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Bob Harris is literally no different from Steve Hoffman. You can put 2 and 2 together from there.
I know Bob Harris as the esteemed film preservationist and historian who is responsible for the stunning restorations of films like Lawrence Of Arabia, Spartacus and Vertigo. I'm not familiar with Mr. Hoffman, what films has he worked on?
As for film grain, it gives a film texture. I don't want my movies to look like a daytime soap opera.
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Dave,
I saw the restored print at the Nuart theater here in L.A. last year. It looked and sounded wonderful.
I'm pretty sure this was the source of the new Blu-ray. I bought a copy but haven't had time to view it yet.
Glad you enjoyed it as it is my favorite film.
James
The rest of you can carry on with another of your damn arguments.
Hi James. Thanks for your comments, I fondly recall The Nuart Theater which I haven't been to since maybe around 1976! I'm glad you enjoyed the restored print up on the big screen; must have been a nice outing there as probably only those who sincerely loved this film, for whatever reasons, showed up to show their appreciation. This thread has gone all the way to The Planet Pluto and back, right? (waiting for some lonely soul to shout out now, 'Pluto's not a planet'!) Just WAIT until next week when Kino Lorber releases the first season of THE OUTER LIMITS in Blue-ray; I'll have my boxed set, but I'm not chiming in one bit about how marvelous it is compared to the original issued discs. Nope, not me.)
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Posted: |
Mar 22, 2018 - 5:54 AM
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By: |
Jim Phelps
(Member)
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FSM's own Manderley, a camerman himself, commented on the film grain issue:
I couldn't believe I was hearing this, but as I've thought about it over the years, I realized that cameramen, as well as being artists, were always looking toward new things---from finer-grained negative film stocks so you wouldn't see the grain, to sound, to better printing stocks, to 2-color, then 3-color, then color negative, to wide-screen and CinemaScope and 70mm---and on and on.
He continues:
"And from my ancient perspective of talking with the old cameramen from this day, I'm sure from their conversations they would have been happy to have color sooner, and also to have NO grain in their film negatives (---which, in those days, was a real bugaboo, despite current purist beliefs in the "film look with grain". By their lens exposures and lighting they made as many attempts as possible to reduce or eliminate the apparent grain, and were always happy when a new, finer grain film stock was developed by Eastman, Du Pont, Ilford, or whoever.)"
("Do You Refuse to Watch Black & White Films?")
http://www.filmscoremonthly.com/board/posts.cfm?threadID=43527&forumID=7&archive=0
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Closed By request of thread originator.
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