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You're doing the world a favor. I know we all make jokes about horrible movies not needing to exist, but even the worst, most useless films need to be preserved. Manos is the odd bad movie that's watchable because it's terrible. But I honestly feel that even the worst films need to be experienced in the best quality possible. I've felt that Manos in its original incarnation (sans MST3K) is a genuinely creepy movie, sort of like David Lynch's work. Count me in for wanting a copy on Blu, but only after it's properly preserved. This needs to have new 16mm and 35mm elements created as backup, along with digital files. Maybe a CineD fundraiser can be held. Some recommendations... Criterion has a direct email here: mulvaney@criterion.com UCLA Film & TV Archive has worked on a lot of low budget 16mm restorations: http://www.cinema.ucla.edu/department-directory Film restorer Robert Harris has a subforum for inquiries at Home Theater Forum: http://www.hometheaterforum.com/f/119/robert-harris Egbert Souse fucked around with this message at 06:10 on Nov 23, 2011 |
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Nov 23, 2011 06:06
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| # ¿ Apr 23, 2024 23:06 |
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Vira posted:I'm jealous, I wish I found poo poo this cool. Having watched the MST3K Manos not to long ago, seeing the difference in quality from those few stills is incredible. MST3K at least used a proper video master, probably made from one of the 35mm prints in Emerson's holdings. The Alpha Video and even the Shout! Factory DVDs use a horrible quality VHS dub from a worn 16mm print. The master used on MST3K looks quite good for what was probably a transfer made in the late 1980s. 16mm Ektachrome can look amazing. Scorpio Rising (and Kenneth Anger's other color films) was shot on the same stock as Manos. This is how good it can look with proper restoration and digital cleanup (some NSFW): http://www.dvdbeaver.com/film2/DVDReviews45/magick_lantern_cycle_blu-ray.htm Egbert Souse fucked around with this message at 23:09 on Nov 23, 2011 |
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Nov 23, 2011 23:07
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Here's the main title in vector format if you need it:
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Nov 24, 2011 08:13
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Ben Solo posted:Wow, did you just make that or did you... have it lying around? While I could vectorize and copy everything in the end credits, I think it'd be fun to make a font... of fate. It's traced from a screenshot taken from the Alpha DVD (I was bored at work). The main font in the credits is very similar to Brody.
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Nov 24, 2011 18:05
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The prospect of reconstructing the soundtrack from the original recordings sounds interesting. A lot of restorations tend to resort to worn prints as a sound source, even when the original negative is used for the picture.
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Dec 14, 2011 19:16
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Great work - although, I'm hoping there's more than enough so that 35mm preservation negative is created, along with the other necessary film-based materials.
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Dec 27, 2011 06:43
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The flatbed scans were nice enough, but I'm genuinely surprised by the crispness of the Scanity work. It's like every grain was captured intact. This is going to be demo material for Blu-Ray.
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Jan 16, 2012 05:26
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Zogo posted:It would be cool if this Manos edition had one of those "world television premieres." Turner Classic Movies would probably run it.
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Jan 25, 2012 02:08
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FYI, I work for a company that produces pins if you want a price quote.
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Feb 2, 2012 20:22
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My card was stolen right on the day of collection, but the replacement didn't come until yesterday. Any way to remedy after the deadline?
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Feb 14, 2012 20:07
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Bad movies are just as useful for teaching filmmaking as great ones. Not everyone can be the next Welles, but they can avoid being another Warren.
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Aug 18, 2012 02:42
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I'm no expert on copyright law, but It appears the copyright was with Emerson and Ben bought what was left of Emerson. There is no record of a renewal circa 1993, which is when a 1966 copyright would have lapsed. The only other copyright holder could be Republic Pictures, which lists a transference of copyright in 1987 - but they also list a lot of titles that went into the public domain in the 1970s that probably were in a TV package.
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Sep 18, 2012 04:44
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edit: never mind ^
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Oct 31, 2013 17:20
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Why not use proper 1.33:1 extraction with rounded corners? That way, you get a bit more picture, but not all the way to the edge.
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Dec 4, 2013 20:47
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computer parts posted:That's apparently The Patriot (1928). The trailer survived. It's sad to not have it considering it was directed by Ernst Lubitsch and starred Emil Jannings. The big problem was that films were printed directly from the camera negatives usually up until the early 1980s. That's why Star Wars '77 was in horrific condition by the early 1990s. However, other hugely popular films like Gone with the Wind and The Wizard of Oz are still in excellent condition. The difference was that Technicolor films were printed from secondary elements produced from the negatives. During the original run of GWTW, it might have only been used a dozen times to create the printing run of Technicolor prints. By contrast, Rear Window had almost 400 prints made in 1954 directly from the negative and was in pretty bad shape by even the 1960s. Even if Manos was popular, the 16mm reversal probably wouldn't have had much extra wear due to it being a 35mm blowup. All the wear would be on the 35mm elements. Film isn't as volatile as you think. There's no reason for a nitrate or acetate negative to be in excellent condition as long as its been kept in proper storage. Film just needs a cool, dry place to sit for years. Most damage to film is from poor handling, poor storage conditions, and idiotic corporate decisions.
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Jul 31, 2015 01:06
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Preserving film isn't that expensive where a routine project is astronomical. Most B&W films have minimal costs involved because it's usually just a matter of routine cleaning and repairs, then producing new elements for use so that the negative doesn't have to be touched again for a while.
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Jul 31, 2015 05:21
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MisterBibs posted:A finite amount of money and resources to do so. The same reasons why we don't save everything now are the same reasons the BBC used to justify saving old Doctor Who episodes. The same reason why a bunch of people paid Ben a chunk of change to save one product, but aren't going to do the same for the next preservation attempt. The reason why Ben had to do a KS at all instead of someone else preserving it Because Reasons. Actually, I think the crowdfunding for Manos has sparked more interest in doing the same for other films. Milestone was able to crowdfund preservations of A Portrait of Jason and Samuel Beckett's Film. Neither of which are particularly well known. Vinegar Syndrome was built on crowdfunding. There's several films I can think of that would be fully successful crowdfunded restorations if the rights holders would let it happen.
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Aug 1, 2015 01:06
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A Coleman Francis set would have to be bundled with a coffee cup
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Oct 6, 2015 19:24
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Ben Solo posted:If you still haven't seen it by Friday (and you're not in a foreign land), write me via Kickstarter so that I can track you. Why would someone expect their name in the donor credits if they were refunded?
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Oct 15, 2015 05:02
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| # ¿ Apr 23, 2024 23:06 |
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Tom Neyman passed away last night. 
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Nov 13, 2016 22:54
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