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I think true film lovers love black bars (I know I do - always have, always will). They even want to add them to their own videos to create that movie vibe, which of course is funny because there are no black bars in the theater, right?

Alex

I don't love black bars. They're simply a necessary artifact of the film's theatrical aspect ratio. I just tolerate them and watch the movie.

I wouldn't encourage anyone to add black bars to their videos unless they've composed their shots properly and preferably used a wide angle lens to get the maximum amount of image before cropping it.

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I think true film lovers love black bars (I know I do - always have, always will). They even want to add them to their own videos to create that movie vibe, which of course is funny because there are no black bars in the theater, right?

Alex

I don't love black bars. They're simply a necessary artifact of the film's theatrical aspect ratio. I just tolerate them and watch the movie.

I wouldn't encourage anyone to add black bars to their videos unless they've composed their shots properly and preferably used a wide angle lens to get the maximum amount of image before cropping it.

True film lovers, Drax, true film lovers.

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I asked Steve Awalt, a noted Spielberg expert about Duel.

The film was shot in 1:85, but matted for television, then opened up again for the international theatrical release. I wish beyond reason that Universal would have (still could, down the line) include the television cut and the theatrical cut in HD.

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I asked Steve Awalt, a noted Spielberg expert about Duel.

The film was shot in 1:85, but matted for television, then opened up again for the international theatrical release. I wish beyond reason that Universal would have (still could, down the line) include the television cut and the theatrical cut in HD.

Thanks!

So, once we see screenshot comparisons of widescreen vs full screen, I have a hunch that the widescreen will have some more on the sides, despite that it loses from top and bottom.

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I've read some Duel bits in Steve Awalt's book. So it's lensed and framed for both presentations. Apparently the 1.85 version should reveal many mistakes, showing even Spielberg in frame sitting in the back of the car with Dennis Weaver. If these mistakes don't show up in the blu-ray version, then they either are removed with CGI or they made a blow up of the 1.33 version, which Spielberg says he didn't want to do for the theatrical release because he hates grain more than his own accidental appearances in the movie.

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He hates grain in just that movie, do you mean? I read Spielberg one time saying he loves the stuff. It was when he was resisting digital - he spoke of how film is alive even when you pause the image, "the grain still dances on the screen" (to paraphrase).

Maybe I misinterpreted him. It's possible.

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I think true film lovers love black bars (I know I do - always have, always will). They even want to add them to their own videos to create that movie vibe, which of course is funny because there are no black bars in the theater, right?

Alex

I don't love black bars. They're simply a necessary artifact of the film's theatrical aspect ratio. I just tolerate them and watch the movie.

I wouldn't encourage anyone to add black bars to their videos unless they've composed their shots properly and preferably used a wide angle lens to get the maximum amount of image before cropping it.

True film lovers, Drax, true film lovers.

As opposed to fake film lovers?

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I asked Steve Awalt, a noted Spielberg expert about Duel.

The film was shot in 1:85, but matted for television, then opened up again for the international theatrical release. I wish beyond reason that Universal would have (still could, down the line) include the television cut and the theatrical cut in HD.

Thanks!

So, once we see screenshot comparisons of widescreen vs full screen, I have a hunch that the widescreen will have some more on the sides, despite that it loses from top and bottom.

Movies shot on film were always shot 1.33, then matted for 1.85. Duel is no different, you can see from these caps:

http://forum.blu-ray.com/showpost.php?p=9796378&postcount=269

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I asked Steve Awalt, a noted Spielberg expert about Duel.

The film was shot in 1:85, but matted for television, then opened up again for the international theatrical release. I wish beyond reason that Universal would have (still could, down the line) include the television cut and the theatrical cut in HD.

Thanks!

So, once we see screenshot comparisons of widescreen vs full screen, I have a hunch that the widescreen will have some more on the sides, despite that it loses from top and bottom.

Movies shot on film were always shot 1.33, then matted for 1.85. Duel is no different, you can see from these caps:

http://forum.blu-ray.com/showpost.php?p=9796378&postcount=269

Hmmm.. you mean even those that are 2.35:1, 2.50:1, are shot in 1.33:1?

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I asked Steve Awalt, a noted Spielberg expert about Duel.

The film was shot in 1:85, but matted for television, then opened up again for the international theatrical release. I wish beyond reason that Universal would have (still could, down the line) include the television cut and the theatrical cut in HD.

Thanks!

So, once we see screenshot comparisons of widescreen vs full screen, I have a hunch that the widescreen will have some more on the sides, despite that it loses from top and bottom.

Movies shot on film were always shot 1.33, then matted for 1.85. Duel is no different, you can see from these caps:

http://forum.blu-ray.com/showpost.php?p=9796378&postcount=269

Hmmm.. you mean even those that are 2.35:1, 2.50:1, are shot in 1.33:1?

Yep. They're either shot Super 35, in which case the 2.35 image is extracted from the middle of the 1.33 frame, or they're shot anamorphic, in which case, when you look at the negative or a release print, everyone is super, super skinny within the 1.33 frame, because the 2.35 image has been squeezed from the sides by an anamorphic lens on the camera. Another anamorphic lens is then used in the projector to make the image appear normal.

There are exceptions, of course. One of the few ways to actually shoot 1.85 natively is to use VistaVision, as it's shot with the film running sideways through the camera, not vertically. However DUEL was not shot in VistaVision.

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Don't worry, Big, I'll review it for you! Here goes:

Schlok, but entertaining, thriller. Not very horrific, but it looks really nice (get the proper transfer, the Gil Taylor transfer!), and it has both Jan Francis, and Kate Nelligan. Hubba, hubba! The music score is by well-known composer John Williams.

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Now in almost-black-and-white courtesy of revisionism.

it was this how I first saw it, so I don't have any major complaints on that.

But I understand those who want the original version as they saw it in theaters.

(as I do, with other films)

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For anyone that is interested in Fright Night (1985) and missed the original 3,000 copies by TT (there was so much complaining and hate about that), TT will be re-releasing it in a 30th anniversary special edition on January 21st, again in 3,000 copies. (with more extras from what I understand)

pre-orders are usually a month or 20 days before release.

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Also, some January titles coming from Shout Factory (i'm very interested in the bold ones)

Henry V (1989)

On Golden Pond

Jean De Florette/Manon of the Spring

Capricorn One

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Jean De Florette/Manon Des Sources has been long available around here (and quite cheap too)

I'm around here too (meaning in Europe), but they don't have English subtitles and I don't know any French! ;)

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You want to see Zardoz? You won't make it till the end, filmmusic. I guarantee it!

Zardoz will put an end to your old movie fetish!

Alex

well, I generally like old sci-fi. Even those that are considered bad..

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On a sidenote, Zardoz is coming from TT, probably in February.

I haven't seen this film ever, but I want to very much!

Zardoz-1974.jpg

Slap the title on it and you've got your perfect cover art right there.

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Poor filmmusic, you have no idea for what awaits you. There's good, there's bad, but there's also ... Zardoz. You'll see!

what do you have to say about this comment I saw elsewhere?

By the way, this is the most visionary and inventive movie of the seventies.

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It's an anti-movie. Zardoz might just have been an psychedelic stage play so, when it comes to film, there's very little inventive about it. Visionary? More like unintentionally silly, the kind that everyone wants to avoid.

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Also, some January titles coming from Shout Factory (i'm very interested in the bold ones)

Henry V (1989)

On Golden Pond

Jean De Florette/Manon of the Spring

Capricorn One

Why not Capricorn One. It's better than the french film

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