jerome595 a écrit:j'étais un peu déçu également par La Mort aux trousses. Pour du Vistavision restauré, je préfère davantage La Prisonnière du désert qui m'avait, lui, bluffé.
pour le coup The searchers n'est pas le bon exemple car la restauration est très controversée. Évidemment le résultat tranche en faveur de ce dernier et pourtant ...
Could the film look any better? Naysayers will always find faults, and it's hard to say what future technology holds, but at our present state it's difficult to imagine a more aptly realized version of North by Northwest.
encore une fois je ne sais vraiment pas s'il est tellement bon de comparer l'aspect visuel de films quand bien même tournés à la même époque avec des caméras identiques ou des procédés cinématographiques similaires ...
Je citerai donc un interview de Gordon Willis déjà cité par maxbond au sujet de la restauration du Parrain sur ce forum :
What were some of the issues that you faced in bringing this classic film into a new format like Blu-ray and if there were, how did you overcome some of these issues?
G. Willis: The real problem with restorations is that people tend to reduce or expand things to a level they understand.
The purpose is to restore, not to remake.
It's very hard for someone, who has a brand new box of spit and shine software not to turn "The Godfathers" into High School Musical Three...
'Get rid of the grain! Brighten the teeth!' Good judgment, what you decide not to do, is extremely important with anybody who's restoring anything.
The biggest issue with any restoration is...... PUT IT BACK THE WAY IT WAS......DO NOT REPAINT!
In our case we were very, very clear about NOT trying to iron out or remove any of the original film characteristics.
Your main enemy is selective hearing. This is a problem even when you're making a movie.
How do you feel about the digital intermediates tinkering with the classic films? Does the altering of colors, lighting or clarity of picture hurt the cinematographer's creative stamp the most?
G. Willis: I don't like tinkering.
Half the time these people are just dialing in what THEY like.... as I've said... what they understand. What they should understand is this:
The physical characteristics of a piece of film are part of the equation when you make decisions about lighting, exposure, filters, color ect. When you try and remove grain form a photograph you are altering the visual structure of the image, this also impacts every other single thing that is blended into the shot.
Every element you try and alter affects the other…all makes the one. The good part is when a good intermediate is made and the data is locked in, you've got it.